Results displayed by award category; sort is chronological
Win indicated by an asterisk (*)



1927/28 (1st)
Richard Barthelmess -- The Noose {"Nickie Elkins"}; and The Patent Leather Kid {"The Patent Leather Kid"}
*
Emil Jannings -- The Last Command {"General Dolgorucki [Grand Duke Sergius Alexander]"}; and The Way of All Flesh {"August Schilling"}
Louise Dresser -- A Ship Comes In {"Mrs. Pleznik"}
*
Janet Gaynor -- 7th Heaven {"Diane"}; Street Angel {"Angela"}; and Sunrise {"The Wife"}
Gloria Swanson -- Sadie Thompson {"Sadie Thompson"}
*
*
[NOTE: For this awards year, awards were presented in the name of the individual and could honor work on one or more films. Charles Rosher and Karl Struss were both honored for cinematography on this film. It is considered a single nomination for the film.]
*
[NOTE: For this awards year, awards were presented in the name of the individual and could honor work on one or more films. Charles Rosher and Karl Struss were both honored for cinematography on this film. It is considered a single nomination for the film.]
*
*
[NOTE: This nomination was not associated with any specific film title.]
*
[NOTE: Though no specific titles were indicated during the presentation on May 16, 1929, or in the official results from the Central Board of Judges for this honorable mention, Academy records indicate that Mr. Slaughter was most often mentioned in connection with The Jazz Singer.]
*
*
*
*
*
[NOTE: This award was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
*
*
[NOTE: "The Academy Board of Judges on merit awards for individual achievements in motion picture arts during the year ending August 1, 1928, unanimously decided that your name should be removed from the competitive classes, and that a special first award be conferred upon you for writing, acting, directing and producing The Circus. The collective accomplishments thus displayed place you in a class by yourself." (Letter from the Academy to Mr. Chaplin, dated February 19, 1929.)]

1928/29 (2nd)
George Bancroft -- Thunderbolt {"Thunderbolt Jim Lang"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
*
Warner Baxter -- In Old Arizona {"The Cisco Kid"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
Chester Morris -- Alibi {"No. 1065, Chick Williams"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
Paul Muni -- The Valiant {"James Dyke"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
Lewis Stone -- The Patriot {"Count Pahlen"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
Ruth Chatterton -- Madame X {"Jacqueline Floriot"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
Betty Compson -- The Barker {"Carrie"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
Jeanne Eagels -- The Letter {"Leslie Crosbie"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
Corinne Griffith -- The Divine Lady {"Emma Hart, Lady Hamilton"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
Bessie Love -- The Broadway Melody {"Hank Mahoney"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
*
Mary Pickford -- Coquette {"Norma Besant"}
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
*
[NOTE: The award citation reads 'for 'The Bridge of San Luis Rey' and other pictures.' THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. There were no announcements of nominations, no certificates of nomination or honorable mention, and only the winners (*) were revealed during the awards banquet on April 3, 1930. Though not official nominations, the additional names in each category, according to in-house records, were under consideration by the various boards of judges.]

1929/30 (3rd)
*
George Arliss -- Disraeli {"Benjamin Disraeli"}
[NOTE: As allowed by the award rules for this year, a single nomination could honor work in one or more films. Though the final awards ballot listed both Disraeli and The Green Goddess in his nomination, the award was announced for only the Disraeli performance. It has never been established as to why this was, but it possibly could have been because the original report from the Acting Branch Board of Judges only listed the Disraeli performance in the results of the nominations voting, or it could have been because on some of the final ballots, the voters had indicated the Disraeli performance over the other.]
George Arliss -- The Green Goddess {"Oxonian, the Rajah of Rukh"}
[NOTE: As allowed by the award rules for this year, a single nomination could honor work in one or more films. Though the final awards ballot listed both Disraeli and The Green Goddess in his nomination, the award was announced for only the Disraeli performance. It has never been established as to why this was, but it possibly could have been because the original report from the Acting Branch Board of Judges only listed the Disraeli performance in the results of the nominations voting, or it could have been because on some of the final ballots, the voters had indicated the Disraeli performance over the other.]
Wallace Beery -- The Big House {"'Machine Gun' Butch Schmidt"}
Maurice Chevalier -- The Big Pond {"Pierre Mirande"}; and The Love Parade {"Count Alfred Renard"}
Ronald Colman -- Bulldog Drummond {"Hugh 'Bulldog' Drummond"}; and Condemned {"Michel"}
Nancy Carroll -- The Devil's Holiday {"Hallie Hobart"}
Ruth Chatterton -- Sarah and Son {"Sarah Storm"}
Greta Garbo -- Anna Christie {"Anna Christie"}; and Romance {"Madame Rita Cavallini"}
*
[NOTE: As allowed by the award rules for this year, a single nomination could honor work in one or more films. Though the final awards ballot listed both The Divorcee and Their Own Desire in her nomination, the award was announced for only the The Divorcee performance. It has never been established as to why this was, but it possibly could have been because the original report from the Acting Branch Board of Judges only listed The Divorcee performance in the results of the nominations voting, or it could have been because on some of the final ballots, the voters had indicated the The Divorcee performance over the other.]
Norma Shearer -- Their Own Desire {"Lucia 'Lally' Marlett"}
[NOTE: As allowed by the award rules for this year, a single nomination could honor work in one or more films. Though the final awards ballot listed both The Divorcee and Their Own Desire in her nomination, the award was announced for only the The Divorcee performance. It has never been established as to why this was, but it possibly could have been because the original report from the Acting Branch Board of Judges only listed The Divorcee performance in the results of the nominations voting, or it could have been because on some of the final ballots, the voters had indicated the The Divorcee performance over the other.]
Gloria Swanson -- The Trespasser {"Marion Donnell"}
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
*
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
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*
*
*
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
*
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]
[NOTE: For the third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced. The name(s) of those credited with this achievement are indicated here in parens.]

1930/31 (4th)
*
Lionel Barrymore -- A Free Soul {"Stephen Ashe"}
Jackie Cooper -- Skippy {"Skippy Skinner"}
Richard Dix -- Cimarron {"Yancey Cravat"}
Adolphe Menjou -- The Front Page {"Walter Burns"}
Marlene Dietrich -- Morocco {"Amy Jolly"}
*
Irene Dunne -- Cimarron {"Sabra Cravat"}
Ann Harding -- Holiday {"Linda Seton"}
Norma Shearer -- A Free Soul {"Jan Ashe"}
*
*
*
*
[NOTE: This nomination was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
*
[NOTE: This award was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
*
*
*
*
*
*
*
*

1931/32 (5th)
*
Wallace Beery -- The Champ {"Champ"}
[NOTE: A tie. Mr. Beery had one vote less than Fredric March (Dr. Jekyll and Mr. Hyde), and rules at the time stated that if any achievement came within three votes of the First Award, it would be considered a tie.]
Alfred Lunt -- The Guardsman {"The Actor"}
*
Fredric March -- Dr. Jekyll and Mr. Hyde {"Dr. Henry Jekyll/Mr. Hyde"}
[NOTE: A tie. Wallace Beery (The Champ) had one vote less than Mr. March, and rules at the time stated that if any achievement came within three votes of the First Award, it would be considered a tie.]
Marie Dressler -- Emma {"Emma"}
Lynn Fontanne -- The Guardsman {"The Actress"}
*
*
*
*
*
*
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Originally announced as one of the nominees in this category, but before the final voting was done, this film was disqualified and was replaced by another RKO Radio short, Scratch-As-Catch-Can. No documentation has been found as to why this film was disqualified.]
*
[NOTE: This nomination was not associated with any specific film title.]
*
[NOTE: This award was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
[NOTE: This nomination was not associated with any specific film title.]
*
*
*
*
*

1932/33 (6th)
Leslie Howard -- Berkeley Square {"Peter Standish"} [came in 3rd]
*
Paul Muni -- I Am a Fugitive from a Chain Gang {"James Allen"} [came in 2nd]
*
Katharine Hepburn -- Morning Glory {"Eva Lovelace"}
May Robson -- Lady for a Day {"Apple Annie"} [came in 2nd]
Diana Wynyard -- Cavalcade {"Jane Marryot"} [came in 3rd]
*
*
*
*
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*
*
*
*
*
Lady for a Day -- Frank Capra [came in 2nd]
Little Women -- George Cukor [came in 3rd]
*
A Farewell to Arms -- Paramount [came in 2nd]
Little Women -- RKO Radio [came in 3rd]
*
*
*
Menu -- Pete Smith, Producer [tied for 2nd]
The Sea -- Educational [tied for 2nd]
*
Lady for a Day -- Robert Riskin [came in 2nd]
*
*
*
*
*

1934 (7th)
*
Frank Morgan -- The Affairs of Cellini {"Allesandro, Duke of Florence"} [came in 2nd]
William Powell -- The Thin Man {"Nick Charles"} [came in 3rd]
*
Bette Davis -- Of Human Bondage {"Mildred"} [came in 3rd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
Norma Shearer -- The Barretts of Wimpole Street {"Elizabeth Barrett"} [came in 2nd]
*
[NOTE: won by two votes]
Cleopatra -- Cullen Tate [came in 2nd]
Imitation of Life -- Scott Beal [came in 3rd]
*
*
Operator 13 -- George Folsey [came in 2nd]
*
The Thin Man -- W. S. Van Dyke [came in 2nd]
Cleopatra -- Anne Bauchens [came in 3rd]
*
*
*
"Love In Bloom" from She Loves Me Not -- Music by Ralph Rainger; Lyrics by Leo Robin [came in 2nd]
*
*
*
What, No Men! -- Warner Bros. [came in 2nd]
*
*
*
Viva Villa! -- Ben Hecht [came in 3rd]
Hide-Out -- Mauri Grashin [came in 3rd]
*
*
*
*
*

1935 (8th)
Clark Gable -- Mutiny on the Bounty {"Fletcher Christian"}
Charles Laughton -- Mutiny on the Bounty {"Captain Bligh"} [came in 3rd]
*
Victor McLaglen -- The Informer {"Gypo Nolan"}
Paul Muni -- Black Fury {"Joe Radek"} [came in 2nd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
Elisabeth Bergner -- Escape Me Never {"Gemma Jones"} [came in 3rd]
Claudette Colbert -- Private Worlds {"Jane Everest"}
*
Bette Davis -- Dangerous {"Joyce Heath"}
Katharine Hepburn -- Alice Adams {"Alice Adams"} [came in 2nd]
Miriam Hopkins -- Becky Sharp {"Becky Sharp"}
Merle Oberon -- The Dark Angel {"Kitty Vane"}
*
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
The Crusades -- Victor Milner [came in 3rd]
Les Miserables -- Gregg Toland [came in 2nd]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
Busby Berkeley -- "Lullaby of Broadway" and "The Words Are In My Heart" numbers from Gold Diggers of 1935 [came in 3rd]
Bobby Connolly -- "Latin from Manhattan" number from Go into Your Dance
Bobby Connolly -- "Latin from Manhattan" number from Go into Your Dance; and "Playboy from Paree" number from Broadway Hostess
*
Dave Gould -- "I've Got a Feeling You're Fooling" number from Broadway Melody of 1936; and "Straw Hat" number from Folies Bergere
Sammy Lee -- "Lovely Lady" and "Too Good To Be True" numbers from King of Burlesque
Hermes Pan -- "Piccolino" and "Top Hat, White Tie, and Tails" numbers from Top Hat [came in 2nd]
LeRoy Prinz -- "It's the Animal in Me" number from Big Broadcast of 1936; and "Viennese Waltz" number from All the King's Horses
Benjamin Zemach -- "Hall of Kings" number from She
Captain Blood -- Michael Curtiz [came in 2nd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
*
The Informer -- George Hively [came in 3rd]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
*
"Cheek To Cheek" from Top Hat -- Music and Lyrics by Irving Berlin [came in 2nd]
*
Captain Blood -- Cosmopolitan [came in 3rd]
The Informer -- RKO Radio [came in 2nd]
*
*
*
Camera Thrills -- Universal [tied for 2nd]
*
*
G-Men -- Gregory Rogers [came in 2nd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
*
Captain Blood -- Casey Robinson [came in 3rd]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Write-in candidate.]
*
[NOTE: Mr. Nichols initially refused the award, but Academy records indicate that he was in possession of a statuette by 1949.]
*
*
*
*
*
*
*
*
*
*

1936 (9th)
Gary Cooper -- Mr. Deeds Goes to Town {"Longfellow Deeds"}
Walter Huston -- Dodsworth {"Sam Dodsworth"}
*
William Powell -- My Man Godfrey {"Godfrey Parks"}
Spencer Tracy -- San Francisco {"Father Tim Mullen"}
*
Walter Brennan -- Come and Get It {"Swan Bostrom"}
Stuart Erwin -- Pigskin Parade {"Amos Dodd"}
Irene Dunne -- Theodora Goes Wild {"Theodora Lynn"}
Carole Lombard -- My Man Godfrey {"Irene Bullock"}
*
Beulah Bondi -- The Gorgeous Hussy {"Rachel Jackson"}
Alice Brady -- My Man Godfrey {"Angelica Bullock"}
Bonita Granville -- These Three {"Mary Tilford"}
Maria Ouspenskaya -- Dodsworth {"Baroness von Obersdorf"}
*
Gale Sondergaard -- Anthony Adverse {"Faith Paleologue"}
*
*
*
Busby Berkeley -- "Love and War" number from Gold Diggers of 1937
Bobby Connolly -- "1000 Love Songs" number from Cain and Mabel
*
Seymour Felix -- "A Pretty Girl Is Like a Melody" number from The Great Ziegfeld
Dave Gould -- "Swingin' the Jinx" number from Born to Dance
Jack Haskell -- "Skating Ensemble" number from One in a Million
Russell Lewis -- "The Finale" number from Dancing Pirate
Hermes Pan -- "Bojangles of Harlem" number from Swing Time
*
*
*
"I've Got You Under My Skin" from Born to Dance -- Music and Lyrics by Cole Porter
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*

1937 (10th)
Charles Boyer -- Conquest {"Napoleon Bonaparte"}
Fredric March -- A Star Is Born {"Norman Maine (Alfred Hinkel)"}
*
Ralph Bellamy -- The Awful Truth {"Daniel Leeson"}
Thomas Mitchell -- The Hurricane {"Doctor Kersaint"}
*
Joseph Schildkraut -- The Life of Emile Zola {"Captain Alfred Dreyfus"}
Roland Young -- Topper {"Cosmo Topper"}
Irene Dunne -- The Awful Truth {"Lucy Warriner"}
Greta Garbo -- Camille {"Marguerite Gautier (Camille)"}
Janet Gaynor -- A Star Is Born {"Esther Blodgett/Vicki Lester"}
*
Barbara Stanwyck -- Stella Dallas {"Stella Dallas"}
*
Alice Brady -- In Old Chicago {"Molly O'Leary"}
Andrea Leeds -- Stage Door {"Kaye Hamilton"}
Anne Shirley -- Stella Dallas {"Laurel Dallas"}
Claire Trevor -- Dead End {"Francie"}
Dame May Whitty -- Night Must Fall {"Mrs. Bramson"}
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*
*
Busby Berkeley -- "The Finale" number from Varsity Show
Bobby Connolly -- "Too Marvelous for Words" number from Ready, Willing and Able
Dave Gould -- "All God's Children Got Rhythm" number from A Day at the Races
Sammy Lee -- "Swing Is Here to Stay" number from Ali Baba Goes to Town
Harry Losee -- "Prince Igor Suite" number from Thin Ice
*
Hermes Pan -- "Fun House" number from A Damsel in Distress
LeRoy Prinz -- "Luau" number from Waikiki Wedding
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*
"They Can't Take That Away From Me" from Shall We Dance -- Music by George Gershwin; Lyrics by Ira Gershwin
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1938 (11th)
Charles Boyer -- Algiers {"Pepe Le Moko"}
James Cagney -- Angels with Dirty Faces {"Rocky Sullivan"}
Robert Donat -- The Citadel {"Andrew Mason"}
Leslie Howard -- Pygmalion {"Professor Henry Higgins"}
*
Spencer Tracy -- Boys Town {"Father Flanagan"}
*
Walter Brennan -- Kentucky {"Peter Goodwin"}
John Garfield -- Four Daughters {"Mickey Borden"}
Gene Lockhart -- Algiers {"Regis"}
Robert Morley -- Marie Antoinette {"King Louis XVI"}
Fay Bainter -- White Banners {"Hannah"}
*
Bette Davis -- Jezebel {"Julie Morrison"}
Wendy Hiller -- Pygmalion {"Eliza Doolittle"}
Norma Shearer -- Marie Antoinette {"Marie Antoinette"}
Margaret Sullavan -- Three Comrades {"Pat Hollmann"}
*
Fay Bainter -- Jezebel {"Aunt Belle Massey"}
Beulah Bondi -- Of Human Hearts {"Mary Wilkins"}
Billie Burke -- Merrily We Live {"Mrs. Emily Kilbourne"}
Miliza Korjus -- The Great Waltz {"Carla Donner"}
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"Change Partners" from Carefree -- Music and Lyrics by Irving Berlin
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[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
*
[NOTE: This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
[NOTE: Did not win the award. This is the only year that nominations were announced for the Thalberg award.]
*
*

1939 (12th)
*
Clark Gable -- Gone with the Wind {"Rhett Butler"}
Mickey Rooney -- Babes in Arms {"Mickey Moran"}
Brian Aherne -- Juarez {"Emperor Maximilian von Habsburg"}
Harry Carey -- Mr. Smith Goes to Washington {"President of the Senate"}
Brian Donlevy -- Beau Geste {"Sergeant Markoff"}
*
Thomas Mitchell -- Stagecoach {"Dr. Josiah Boone"}
Claude Rains -- Mr. Smith Goes to Washington {"Senator Joseph Paine"}
Bette Davis -- Dark Victory {"Judith Traherne"}
Irene Dunne -- Love Affair {"Terry McKay"}
Greta Garbo -- Ninotchka {"Lena Yakushova (Ninotchka)"}
Greer Garson -- Goodbye, Mr. Chips {"Katherine Chipping"}
*
Vivien Leigh -- Gone with the Wind {"Scarlett O'Hara"}
Olivia de Havilland -- Gone with the Wind {"Melanie Hamilton"}
*
Edna May Oliver -- Drums along the Mohawk {"Sarah McKlennar"}
Maria Ouspenskaya -- Love Affair {"Grandmother, Mme. Marnay"}
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Gone with the Wind and The Private Lives of Elizabeth and Essex) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Gone with the Wind and The Private Lives of Elizabeth and Essex) would be selected.]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Gone with the Wind and The Private Lives of Elizabeth and Essex) would be selected.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Gone with the Wind and The Private Lives of Elizabeth and Essex) would be selected.]
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"I Poured My Heart Into A Song" from Second Fiddle -- Music and Lyrics by Irving Berlin
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1940 (13th)
Charles Chaplin -- The Great Dictator {"Hynkel, Dictator of Tomania"}
Raymond Massey -- Abe Lincoln in Illinois {"Abraham Lincoln"}
Laurence Olivier -- Rebecca {"Maxim de Winter"}
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Walter Brennan -- The Westerner {"Judge Roy Bean"}
Jack Oakie -- The Great Dictator {"Napaloni, Dictator of Bacteria"}
James Stephenson -- The Letter {"Howard Joyce"}
Bette Davis -- The Letter {"Leslie Crosbie"}
Joan Fontaine -- Rebecca {"Mrs. de Winter"}
*
Ginger Rogers -- Kitty Foyle {"Kitty Foyle"}
Martha Scott -- Our Town {"Emily Webb"}
Judith Anderson -- Rebecca {"Mrs. Danvers"}
*
Barbara O'Neil -- All This, and Heaven Too {"Duchesse de Praslin"}
Marjorie Rambeau -- Primrose Path {"Mamie Adams"}
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"When You Wish Upon A Star" from Pinocchio -- Music by Leigh Harline; Lyrics by Ned Washington
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1941 (14th)
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Gary Cooper -- Sergeant York {"Alvin C. York"}
Cary Grant -- Penny Serenade {"Roger Adams"}
Orson Welles -- Citizen Kane {"Charles Foster Kane"}
Walter Brennan -- Sergeant York {"Pastor Posier Pile"}
*
Bette Davis -- The Little Foxes {"Regina Hubbard Giddens"}
*
Joan Fontaine -- Suspicion {"Lina McLaidlaw"}
Greer Garson -- Blossoms in the Dust {"Edna Gladney"}
Barbara Stanwyck -- Ball of Fire {"Sugarpuss O'Shea"}
*
Mary Astor -- The Great Lie {"Sandra Kovak"}
Patricia Collinge -- The Little Foxes {"Birdie Hubbard"}
Teresa Wright -- The Little Foxes {"Alexandra Giddens"}
Margaret Wycherly -- Sergeant York {"Mother York"}
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Nomination withdrawn by Republic Studios.]
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"Boogie Woogie Bugle Boy Of Company B" from Buck Privates -- Music by Hugh Prince; Lyrics by Don Raye
*
"Since I Kissed My Baby Goodbye" from You'll Never Get Rich -- Music and Lyrics by Cole Porter
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Originally announced as a nominee on February 9, 1942, but sometime between the 10th and the 19th of February, this title was dropped and replaced by another Warner Bros. production, The Sea Wolf, with the same people credited for the nomination. There is no explanation in the files as to why this replacement was made.]
*
[NOTE: Not originally one of the nominees announced on February 9, 1942. Dive Bomber, another Warner Bros. production, was on the list, but sometime between the 10th and 19th of February, the Dive Bomber nomination was replaced by The Sea Wolf, with the same people credited for the achievement. There is no explanation in the files as to why the replacement was made.]
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1942 (15th)
*
James Cagney -- Yankee Doodle Dandy {"George M. Cohan"}
Ronald Colman -- Random Harvest {"Charles Ranier"}
Walter Pidgeon -- Mrs. Miniver {"Clem Miniver"}
William Bendix -- Wake Island {"Smacksie Randall"}
*
Van Heflin -- Johnny Eager {"Jeff Hartnett"}
Frank Morgan -- Tortilla Flat {"The Pirate"}
Henry Travers -- Mrs. Miniver {"Mr. Ballard"}
Bette Davis -- Now, Voyager {"Charlotte Vale"}
*
Greer Garson -- Mrs. Miniver {"Kay Miniver"}
Rosalind Russell -- My Sister Eileen {"Ruth Sherwood"}
Gladys Cooper -- Now, Voyager {"Mrs. Vale"}
Dame May Whitty -- Mrs. Miniver {"Lady Beldon"}
*
Teresa Wright -- Mrs. Miniver {"Carol Beldon"}
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[NOTE: "A special award to Battle of Midway for the historical value of its achievement in offering a camera record of one of the decisive battles of the world - a record unique both for the courage of those who made it under fire, and for its magnificent portrayal of the gallantry of our armed forces in battle."]
*
[NOTE: "A special award to Kokoda Front Line! for its effectiveness in portraying, simply yet forcefully, the scene of war in New Guinea and for its moving presentation of the bravery and fortitude of our Australian comrades in arms."]
*
[NOTE: "A special award to Moscow Strikes Back for its vivid presentation of the heroism of the Russian Army and of the Russian people in the defense of Moscow, and for its achievement in so doing under conditions of extreme difficulty and danger."]
*
[NOTE: "A special award to Prelude to War for its trenchant conception and authentic and stirring dramatization of the events which forced our nation into the war and of the ideals for which we fight."]
*
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*
"It Seems I Heard That Song Before" from Youth on Parade -- Music by Jule Styne; Lyrics by Sammy Cahn
"I've Got A Gal In Kalamazoo" from Orchestra Wives -- Music by Harry Warren; Lyrics by Mack Gordon
[NOTE: This nomination is a mystery. Both the nominations list and the program from the Awards dinner list the song as being from Hellzapoppin', a 1942 release for Awards purposes. The song does not appear in that film, but did appear in Keep 'Em Flying, a 1941 release from the same production company and studio, and was therefore ineligible for a 1942 nomination.]
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1943 (16th)
Humphrey Bogart -- Casablanca {"Rick Blane"}
Gary Cooper -- For Whom the Bell Tolls {"Robert Jordan"}
*
Paul Lukas -- Watch on the Rhine {"Kurt Muller"}
Walter Pidgeon -- Madame Curie {"Pierre Curie"}
Mickey Rooney -- The Human Comedy {"Homer Macauley"}
*
Charles Coburn -- The More the Merrier {"Benjamin Dingle"}
J. Carrol Naish -- Sahara {"Giuseppe"}
Claude Rains -- Casablanca {"Captain Louis Renault"}
Jean Arthur -- The More the Merrier {"Connie Milligan"}
Joan Fontaine -- The Constant Nymph {"Teresa 'Tessa' Sanger"}
Greer Garson -- Madame Curie {"Madame Marie Curie"}
*
Jennifer Jones -- The Song of Bernadette {"Bernadette Soubirous"}
Gladys Cooper -- The Song of Bernadette {"Sister Vauzous"}
Paulette Goddard -- So Proudly We Hail! {"Lieutenant Joan O'Doul"}
*
Anne Revere -- The Song of Bernadette {"Louise Soubirous"}
Lucile Watson -- Watch on the Rhine {"Fanny Farrelly"}
*
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 8 films announced as nominations from which the Documentary Award Committee subsequently selected 5 titles for inclusion on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 8 films announced as nominations from which the Documentary Award Committee subsequently selected 5 titles for inclusion on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 8 films announced as nominations from which the Documentary Award Committee subsequently selected 5 titles for inclusion on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Title was on a preliminary list of 21 films announced as nominations from which the Documentary Award Committee subsequently selected 7 titles for inclusion on the final ballot. This film did not appear on the final ballot.]
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"Happiness Is A Thing Called Joe" from Cabin in the Sky -- Music by Harold Arlen; Lyrics by E. Y. Harburg
"Say A Pray'r For The Boys Over There" from Hers to Hold -- Music by Jimmy McHugh; Lyrics by Herb Magidson
[NOTE: This song was nominated under the title "Black Magic," as it was submitted by Paramount's Music Department. Academy records have been changed to show the more common form of the title.]
"They're Either Too Young Or Too Old" from Thank Your Lucky Stars -- Music by Arthur Schwartz; Lyrics by Frank Loesser
"You'd Be So Nice To Come Home To" from Something to Shout About -- Music and Lyrics by Cole Porter
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1944 (17th)
Charles Boyer -- Gaslight {"Gregory Anton"}
*
Bing Crosby -- Going My Way {"Father O'Malley"}
Barry Fitzgerald -- Going My Way {"Father Fitzgibbon"}
Alexander Knox -- Wilson {"Woodrow Wilson"}
Hume Cronyn -- The Seventh Cross {"Paul Roeder"}
*
Barry Fitzgerald -- Going My Way {"Father Fitzgibbon"}
Claude Rains -- Mr. Skeffington {"Job Skeffington"}
Clifton Webb -- Laura {"Waldo Lydecker"}
Monty Woolley -- Since You Went Away {"Colonel Smollett"}
*
Ingrid Bergman -- Gaslight {"Paula Alquist"}
Bette Davis -- Mr. Skeffington {"Fanny Trellis Skeffington"}
Greer Garson -- Mrs. Parkington {"Susie Parkington"}
Barbara Stanwyck -- Double Indemnity {"Phyllis Dietrichson"}
*
Angela Lansbury -- Gaslight {"Nancy Oliver"}
Aline MacMahon -- Dragon Seed {"Ling's Wife"}
Agnes Moorehead -- Mrs. Parkington {"Aspacia Conti"}
*
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Nomination withdrawn by production company.]
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"I Couldn't Sleep A Wink Last Night" from Higher and Higher -- Music by Jimmy McHugh; Lyrics by Harold Adamson
"Silver Shadows And Golden Dreams" from Lady, Let's Dance -- Music by Lew Pollack; Lyrics by Charles Newman
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1945 (18th)
Bing Crosby -- The Bells of St. Mary's {"Father O'Malley"}
Gene Kelly -- Anchors Aweigh {"Joseph Brady"}
*
Ray Milland -- The Lost Weekend {"Don Birnam"}
Gregory Peck -- The Keys of the Kingdom {"Father Francis Chisholm"}
Cornel Wilde -- A Song to Remember {"Frederick Chopin"}
Michael Chekhov -- Spellbound {"Dr. Alex Brulov"}
John Dall -- The Corn Is Green {"Morgan Evans"}
*
Robert Mitchum -- G. I. Joe {"Lieutenant Walker"}
J. Carrol Naish -- A Medal for Benny {"Charlie Martini"}
Ingrid Bergman -- The Bells of St. Mary's {"Sister Benedict"}
*
Joan Crawford -- Mildred Pierce {"Mildred Pierce"}
Greer Garson -- The Valley of Decision {"Mary Rafferty"}
Jennifer Jones -- Love Letters {"Singleton"}
Gene Tierney -- Leave Her to Heaven {"Ellen Berent"}
Ann Blyth -- Mildred Pierce {"Veda Pierce"}
Joan Lorring -- The Corn Is Green {"Bessie Watty"}
*
Anne Revere -- National Velvet {"Mrs. Brown"}
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"I Fall In Love Too Easily" from Anchors Aweigh -- Music by Jule Styne; Lyrics by Sammy Cahn
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1946 (19th)
*
Laurence Olivier -- Henry V {"Henry V"}
Larry Parks -- The Jolson Story {"Al Jolson"}
Gregory Peck -- The Yearling {"Pa Baxter"}
James Stewart -- It's a Wonderful Life {"George Bailey"}
Charles Coburn -- The Green Years {"Alexander Gow"}
William Demarest -- The Jolson Story {"Steve Martin"}
Claude Rains -- Notorious {"Alexander Sebastian"}
*
Clifton Webb -- The Razor's Edge {"Elliott Templeton"}
*
Celia Johnson -- Brief Encounter {"Laura Jesson"}
Jennifer Jones -- Duel in the Sun {"Pearl Chavez"}
Rosalind Russell -- Sister Kenny {"Elizabeth Kenny"}
Jane Wyman -- The Yearling {"Ma Baxter"}
*
Anne Baxter -- The Razor's Edge {"Sophie MacDonald"}
Lillian Gish -- Duel in the Sun {"Belle McCanles"}
Flora Robson -- Saratoga Trunk {"Angelique Buiton"}
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"On The Atchison, Topeka And The Santa Fe" from The Harvey Girls -- Music by Harry Warren; Lyrics by Johnny Mercer
"You Keep Coming Back Like A Song" from Blue Skies -- Music and Lyrics by Irving Berlin
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1947 (20th)
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Ronald Colman -- A Double Life {"Anthony John"}
John Garfield -- Body and Soul {"Charlie Davis"}
William Powell -- Life with Father {"Clarence Day"}
*
Robert Ryan -- Crossfire {"Montgomery"}
Richard Widmark -- Kiss of Death {"Tommy Udo"}
Joan Crawford -- Possessed {"Louise Howell"}
*
Loretta Young -- The Farmer's Daughter {"Katrin Holstrom"}
Ethel Barrymore -- The Paradine Case {"Lady Sophie Horfield"}
Gloria Grahame -- Crossfire {"Ginny Tremaine"}
*
Marjorie Main -- The Egg and I {"Ma Kettle"}
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"I Wish I Didn't Love You So" from The Perils of Pauline -- Music and Lyrics by Frank Loesser
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1948 (21st)
Lew Ayres -- Johnny Belinda {"Dr. Robert Richardson"}
Montgomery Clift -- The Search {"Ralph Stevenson"}
*
Laurence Olivier -- Hamlet {"Hamlet"}
Clifton Webb -- Sitting Pretty {"Lynn Belvedere"}
Charles Bickford -- Johnny Belinda {"Black McDonald"}
José Ferrer -- Joan of Arc {"The Dauphin, Charles VIII"}
Oscar Homolka -- I Remember Mama {"Uncle Chris"}
*
Ingrid Bergman -- Joan of Arc {"Joan of Arc"}
Olivia de Havilland -- The Snake Pit {"Virginia Stuart Cunningham"}
Barbara Stanwyck -- Sorry, Wrong Number {"Leona Stevenson"}
*
Jane Wyman -- Johnny Belinda {"Belinda McDonald"}
Ellen Corby -- I Remember Mama {"Aunt Trina"}
Agnes Moorehead -- Johnny Belinda {"Aggie McDonald"}
Jean Simmons -- Hamlet {"Ophelia"}
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"For Every Man There's A Woman" from Casbah -- Music by Harold Arlen; Lyrics by Leo Robin
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[NOTE: Presented on "Jean Hersholt Night," June 26, 1949, at the Academy building.]
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1949 (22nd)
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Kirk Douglas -- Champion {"Midge Kelly"}
Gregory Peck -- Twelve O'Clock High {"General Savage"}
John Wayne -- Sands of Iwo Jima {"Sergeant John M. Stryker"}
John Ireland -- All the King's Men {"Jack Burden"}
*
Dean Jagger -- Twelve O'Clock High {"Major Stovall"}
Arthur Kennedy -- Champion {"Connie Kelly"}
Ralph Richardson -- The Heiress {"Dr. Austin Sloper"}
Jeanne Crain -- Pinky {"Pinky"}
*
Olivia de Havilland -- The Heiress {"Catherine Sloper"}
Susan Hayward -- My Foolish Heart {"Eloise Winters"}
Deborah Kerr -- Edward, My Son {"Evelyn Boult"}
Loretta Young -- Come to the Stable {"Sister Margaret"}
Ethel Barrymore -- Pinky {"Miss Em"}
Celeste Holm -- Come to the Stable {"Sister Scholastica"}
*
Ethel Waters -- Pinky {"Granny"}
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[NOTE: A tie. The other winning film in this category was So Much for So Little.]
*
[NOTE: A tie. The other winning film in this category was A Chance to Live.]
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"Baby, It's Cold Outside" from Neptune's Daughter -- Music and Lyrics by Frank Loesser
"Through A Long And Sleepless Night" from Come to the Stable -- Music by Alfred Newman; Lyrics by Mack Gordon
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Nomination withdrawn by producer.]
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1950 (23rd)
Louis Calhern -- The Magnificent Yankee {"Oliver Wendell Holmes"}
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José Ferrer -- Cyrano de Bergerac {"Cyrano de Bergerac"}
William Holden -- Sunset Blvd. {"Joe Gillis"}
James Stewart -- Harvey {"Elwood P. Dowd"}
Spencer Tracy -- Father of the Bride {"Stanley T. Banks"}
Jeff Chandler -- Broken Arrow {"Cochise"}
Edmund Gwenn -- Mister 880 {"Skipper Miller"}
Sam Jaffe -- The Asphalt Jungle {"Dr. Erwin Riedenschneider"}
*
George Sanders -- All about Eve {"Addison De Witt"}
Erich von Stroheim -- Sunset Blvd. {"Max Von Mayerling"}
Anne Baxter -- All about Eve {"Eve Harrington"}
Bette Davis -- All about Eve {"Margo Channing"}
*
Judy Holliday -- Born Yesterday {"Billie Dawn"}
Eleanor Parker -- Caged {"Marie Allen"}
Gloria Swanson -- Sunset Blvd. {"Norma Desmond"}
Hope Emerson -- Caged {"Evelyn Harper"}
Celeste Holm -- All about Eve {"Karen Richards"}
*
Josephine Hull -- Harvey {"Veta Louise Simmons"}
Nancy Olson -- Sunset Blvd. {"Betty Schaefer"}
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[NOTE: Based upon the research made by, and the board motion of, the Writers Guild of America West, the Academy, on July 3, 1991, decided to restore Albert Maltz to the screenplay credit on the 1950 film Broken Arrow. Michael Blankfort had fronted for him on the screenplay and consequently was named in the screenplay nomination. Mr. Blankfort's name was removed from the nomination.]
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1951 (24th)
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Humphrey Bogart -- The African Queen {"Charlie Allnut"}
Marlon Brando -- A Streetcar Named Desire {"Stanley Kowalski"}
Montgomery Clift -- A Place in the Sun {"George Eastman"}
Arthur Kennedy -- Bright Victory {"Larry Levins"}
Leo Genn -- Quo Vadis {"Petronius"}
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Gig Young -- Come Fill the Cup {"Boyd Copeland"}
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Vivien Leigh -- A Streetcar Named Desire {"Blanche DuBois"}
Eleanor Parker -- Detective Story {"Mary McLeod"}
Jane Wyman -- The Blue Veil {"Louise Mason"}
Joan Blondell -- The Blue Veil {"Annie Rawlins"}
Lee Grant -- Detective Story {"A Shoplifter"}
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Kim Hunter -- A Streetcar Named Desire {"Stella Kowalski"}
Thelma Ritter -- The Mating Season {"Ellen McNulty"}
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"In The Cool, Cool, Cool Of The Evening" from Here Comes the Groom -- Music by Hoagy Carmichael; Lyrics by Johnny Mercer
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1952 (25th)
Marlon Brando -- Viva Zapata! {"Emiliano Zapata"}
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Gary Cooper -- High Noon {"Will Kane"}
Kirk Douglas -- The Bad and the Beautiful {"Jonathan Shields"}
José Ferrer -- Moulin Rouge {"Toulouse-Lautrec"}
Richard Burton -- My Cousin Rachel {"Philip Ashley"}
Arthur Hunnicutt -- The Big Sky {"Zeb Callaway"}
Victor McLaglen -- The Quiet Man {"Red Will Danaher"}
Jack Palance -- Sudden Fear {"Lester Blaine"}
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Anthony Quinn -- Viva Zapata! {"Eufemio Zapata"}
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Joan Crawford -- Sudden Fear {"Myra Hudson"}
Bette Davis -- The Star {"Margaret Elliot"}
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Gloria Grahame -- The Bad and the Beautiful {"Rosemary Bartlow"}
Jean Hagen -- Singin' in the Rain {"Lina Lamont"}
Colette Marchand -- Moulin Rouge {"Marie Charlet"}
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"High Noon (Do Not Forsake Me, Oh My Darlin')" from High Noon -- Music by Dimitri Tiomkin; Lyrics by Ned Washington
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1953 (26th)
Marlon Brando -- Julius Caesar {"Marc Antony"}
Richard Burton -- The Robe {"Marcellus Gallio"}
Montgomery Clift -- From Here to Eternity {"Robert E. Lee Prewitt"}
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William Holden -- Stalag 17 {"Sefton"}
Burt Lancaster -- From Here to Eternity {"Sgt. Milton Warden"}
Eddie Albert -- Roman Holiday {"Irving Radovich"}
Brandon De Wilde -- Shane {"Joey Starrett"}
Jack Palance -- Shane {"Wilson"}
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Frank Sinatra -- From Here to Eternity {"Angelo Maggio"}
Robert Strauss -- Stalag 17 {"Stosh/'Animal'"}
Leslie Caron -- Lili {"Lili Daurier"}
Ava Gardner -- Mogambo {"Eloise 'Honey Bear' Kelly"}
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Audrey Hepburn -- Roman Holiday {"Princess Anne"}
Deborah Kerr -- From Here to Eternity {"Karen Holmes"}
Maggie McNamara -- The Moon Is Blue {"Patty O'Neill"}
Grace Kelly -- Mogambo {"Linda Nordley"}
Geraldine Page -- Hondo {"Angie Lowe"}
Marjorie Rambeau -- Torch Song {"Mrs. Stewart"}
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Donna Reed -- From Here to Eternity {"Lorene/Alma"}
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"Sadie Thompson's Song (Blue Pacific Blues)" from Miss Sadie Thompson -- Music by Lester Lee; Lyrics by Ned Washington
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Originally announced on February 15, 1954 as a nominee in this category. On February 17, 1954, letters from the producer and the nominee questioned its inclusion in the (original) motion picture story category, as it was based on the short story, "The Gift of Cochise," by the nominee, published in Collier's magazine on July 5, 1952. By waiver, the title of the short story was not included in the film's credits. The nomination was withdrawn, and only four titles were included on the final ballot.]
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[NOTE: The screen credit and award were originally credited to Ian McLellan Hunter, who was a "front" for Dalton Trumbo. On December 15, 1992, the Academy's Board of Governors voted to change the records and award Mr. Trumbo with the achievement. Ian McLellan Hunter's name was removed from the Motion Picture Story category. The Oscar was posthumously presented to Trumbo's widow on May 10, 1993.]
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1954 (27th)
Humphrey Bogart -- The Caine Mutiny {"Captain Queeg"}
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Marlon Brando -- On the Waterfront {"Terry Malloy"}
Bing Crosby -- The Country Girl {"Frank Elgin"}
James Mason -- A Star Is Born {"Norman Maine/Alfred Hinkel"}
Lee J. Cobb -- On the Waterfront {"Johnny Friendly"}
Karl Malden -- On the Waterfront {"Father Barry"}
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Rod Steiger -- On the Waterfront {"Charles Malloy"}
Tom Tully -- The Caine Mutiny {"Captain DeVriess"}
Dorothy Dandridge -- Carmen Jones {"Carmen Jones"}
Judy Garland -- A Star Is Born {"Esther Blodgett/Vicki Lester"}
Audrey Hepburn -- Sabrina {"Sabrina Fairchild"}
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Grace Kelly -- The Country Girl {"Georgie Elgin"}
Jane Wyman -- Magnificent Obsession {"Helen Phillips"}
Nina Foch -- Executive Suite {"Erica Martin"}
Katy Jurado -- Broken Lance {"Senora Devereaux"}
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[NOTE: Because of the political climate of the times, Genevieve's arranger and orchestra conductor Muir Mathieson was credited as composer on American prints of this British-made film, and was thus credited with the nomination. In June of 1986, the Board of Governors had Academy records updated to give Larry Adler his proper credit, which Mr. Mathieson had never claimed. Mr. Mathieson's name was removed from the nomination and Mr. Adler's inserted.]
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"Count Your Blessings Instead Of Sheep" from White Christmas -- Music and Lyrics by Irving Berlin
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1955 (28th)
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Ernest Borgnine -- Marty {"Marty Pilletti"}
James Cagney -- Love Me or Leave Me {"Martin Snyder"}
James Dean -- East of Eden {"Cal Trask"}
Spencer Tracy -- Bad Day at Black Rock {"John J. Macreedy"}
Arthur Kennedy -- Trial {"Barney Castle"}
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Jack Lemmon -- Mister Roberts {"Ensign Pulver"}
Joe Mantell -- Marty {"Angie"}
Arthur O'Connell -- Picnic {"Howard Bevans"}
Susan Hayward -- I'll Cry Tomorrow {"Lillian Roth"}
Katharine Hepburn -- Summertime {"Jane Hudson"}
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Anna Magnani -- The Rose Tattoo {"Serafina Della Rose"}
Eleanor Parker -- Interrupted Melody {"Marjorie Lawrence"}
Betsy Blair -- Marty {"Clara Snyder"}
Peggy Lee -- Pete Kelly's Blues {"Rose Hopkins"}
Marisa Pavan -- The Rose Tattoo {"Rosa Della Rose"}
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"Something's Gotta Give" from Daddy Long Legs -- Music and Lyrics by Johnny Mercer
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1956 (29th)
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Yul Brynner -- The King and I {"The King"}
James Dean -- Giant {"Jett Rink"}
Kirk Douglas -- Lust for Life {"Vincent Van Gogh"}
Rock Hudson -- Giant {"Bick Benedict"}
Sir Laurence Olivier -- Richard III {"Richard III"}
Don Murray -- Bus Stop {"Bo"}
Anthony Perkins -- Friendly Persuasion {"Josh Birdwell"}
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Anthony Quinn -- Lust for Life {"Paul Gauguin"}
Robert Stack -- Written on the Wind {"Kyle Hadley"}
Carroll Baker -- Baby Doll {"Baby Doll"}
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Ingrid Bergman -- Anastasia {"The Woman"}
Katharine Hepburn -- The Rainmaker {"Lizzie Curry"}
Nancy Kelly -- The Bad Seed {"Christine Penmark"}
Mildred Dunnock -- Baby Doll {"Aunt Rose Comfort"}
Eileen Heckart -- The Bad Seed {"Mrs. Daigle"}
Mercedes McCambridge -- Giant {"Luz Benedict"}
Patty McCormack -- The Bad Seed {"Rhoda Penmark"}
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Dorothy Malone -- Written on the Wind {"Marylee Hadley"}
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[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
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[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
[NOTE: For the 29th Academy Awards, the name(s) of the producer(s) were included in the nomination for the Foreign Language Film category.]
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"Whatever Will Be, Will Be (Que Sera, Sera)" from The Man Who Knew Too Much -- Music and Lyrics by Jay Livingston and Ray Evans
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[NOTE: The name of the writer credited with authorship, Robert Rich, turned out to be an alias. Two decades later, the mystery was officially solved and the Academy statuette went (on May 2, 1975, presented by then Academy president Walter Mirisch) to its rightful owner, screenwriter Dalton Trumbo, blacklisted in 1956 by the industry for political affiliations. Robert Rich (who had nothing to do with the film industry) is a nephew of the King Brothers, producers of the film. They chose his name to be the alias for Dalton Trumbo on the screenplay.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. Edward Bernds and Elwood Ullman, the authors of this Bowery Boys quickie, respectfully withdrew their own names and the nomination, aware that voters had probably mistaken their film with a 1956 MGM release with the same title written by John Patrick and starring Bing Crosby, Grace Kelly and Frank Sinatra. (Even so, MGM's High Society would only have been eligible for adapted screenplay.)]
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[NOTE: Early in 1956, the name of blacklisted screenwriter Michael Wilson had been deleted from the screen credits of Friendly Persuasion by Allied Artists, the film's distributor, based on a 1952 agreement between the Screen Writers Guild and various production companies. That agreement gave studios the right to omit from the screen the name of any individual who had failed to clear himself before a duly constituted legislative committee of Congress if accused of Communist affiliations, as was the case with Wilson at the time. The Academy, in the awkward position of possibly conferring its highest honor on someone whose name had been omitted from screen credit, revised its bylaws at a special February 6, 1957, meeting. That revision, in essence, allowed that in such cases, the achievement itself could be eligible for nomination, but the specific writer would be ineligible. The following instructions were sent to Price Waterhouse & Co., Certified Public Accountants, who tabulated Academy ballots: "...we ask that if, in tabulating the nominations ballots for Best Screenplay (adapted), Friendly Persuasion is one of the five nominations, you list the other four alphabetically by title and below: Friendly Persuasion - Achievement nominated, but writer ineligible for Award under Academy By-Laws." On February 17, 1957, the Academy's Board of Governors voted to instruct Price Waterhouse & Co. "...to list five nominations, and in the event that one of these is declared ineligible under the By-Law provision, four nominations would appear on the final ballot." THIS NOMINATION WAS NOT INCLUDED ON THE FINAL BALLOT. (The bylaw was repealed by the Academy as "unworkable" on January 12, 1959.) On December 10, 2002, the Academy's Board of Governors voted to reinstate Mr. Wilson's nomination.]
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1957 (30th)
Marlon Brando -- Sayonara {"Major Lloyd Gruver"}
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Charles Laughton -- Witness for the Prosecution {"Sir Wilfrid Robarts"}
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Red Buttons -- Sayonara {"Joe Kelly"}
Vittorio De Sica -- A Farewell to Arms {"Major Alessandro Rinaldi"}
Arthur Kennedy -- Peyton Place {"Lucas Cross"}
Russ Tamblyn -- Peyton Place {"Norman Page"}
Elizabeth Taylor -- Raintree County {"Susanna Drake"}
Lana Turner -- Peyton Place {"Constance MacKenzie"}
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Joanne Woodward -- The Three Faces of Eve {"Eve White/Eve Black/Jane"}
Carolyn Jones -- The Bachelor Party {"The Existentialist"}
Hope Lange -- Peyton Place {"Selena Cross"}
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Miyoshi Umeki -- Sayonara {"Katsumi"}
Diane Varsi -- Peyton Place {"Allison MacKenzie"}
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[NOTE: Though Pierre Boulle received official screen credit, it was commonly known that blacklisted writers, Michael Wilson and Carl Foreman, wrote the screenplay based on Mr. Boulle's novel (translated from the French). The Board of Governors, on December 11, 1984, voted posthumous Oscars to Wilson and Foreman and Academy records have been updated.]
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1958 (31st)
Tony Curtis -- The Defiant Ones {"John 'Joker' Jackson"}
Paul Newman -- Cat on a Hot Tin Roof {"Brick Pollitt"}
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David Niven -- Separate Tables {"Major Pollock"}
Sidney Poitier -- The Defiant Ones {"Noah Cullen"}
Theodore Bikel -- The Defiant Ones {"Sheriff Max Muller"}
Lee J. Cobb -- The Brothers Karamazov {"Fyodor Karamazov"}
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Burl Ives -- The Big Country {"Rufus Hannassey"}
Arthur Kennedy -- Some Came Running {"Frank Hirsh"}
Gig Young -- Teacher's Pet {"Dr. Hugo Pine"}
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Susan Hayward -- I Want to Live! {"Barbara Graham"}
Deborah Kerr -- Separate Tables {"Sibyl Railton-Bell"}
Shirley MacLaine -- Some Came Running {"Ginny Moorhead"}
Rosalind Russell -- Auntie Mame {"Auntie Mame Dennis"}
Peggy Cass -- Auntie Mame {"Agnes Gooch"}
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Wendy Hiller -- Separate Tables {"Pat Cooper"}
Martha Hyer -- Some Came Running {"Gwen French"}
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"Almost In Your Arms (Love Song From 'Houseboat')" from Houseboat -- Music and Lyrics by Jay Livingston and Ray Evans
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[NOTE: Upon request of his widow and upon recommendation of the Writers Branch Executive Committee, the Board of Governors voted on June 22, 1993, to restore the name of Nedrick Young to the nominations and award presented to Nathan E. Douglas (Mr. Young's pseudonym during the blacklisting period).]
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1959 (32nd)
Laurence Harvey -- Room at the Top {"Joe Lampton"}
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Charlton Heston -- Ben-Hur {"Judah Ben-Hur"}
Jack Lemmon -- Some Like It Hot {"Jerry/Daphne"}
Paul Muni -- The Last Angry Man {"Dr. Sam Abelman"}
James Stewart -- Anatomy of a Murder {"Paul Biegler"}
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Hugh Griffith -- Ben-Hur {"Sheik Ilderim"}
Arthur O'Connell -- Anatomy of a Murder {"Parnell McCarthy"}
George C. Scott -- Anatomy of a Murder {"Claude Dancer"}
Ed Wynn -- The Diary of Anne Frank {"Mr. Dussell"}
Doris Day -- Pillow Talk {"Jan Morrow"}
Audrey Hepburn -- The Nun's Story {"Sister Luke"}
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Simone Signoret -- Room at the Top {"Alice Aisgill"}
Elizabeth Taylor -- Suddenly, Last Summer {"Catherine Holly"}
Susan Kohner -- Imitation of Life {"Sarah Jane (age 18)"}
Juanita Moore -- Imitation of Life {"Annie Johnson"}
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1960 (33rd)
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Burt Lancaster -- Elmer Gantry {"Elmer Gantry"}
Jack Lemmon -- The Apartment {"C.C. 'Bud' Baxter"}
Laurence Olivier -- The Entertainer {"Archie Rice"}
Spencer Tracy -- Inherit the Wind {"Henry Drummond"}
Peter Falk -- Murder, Inc. {"Abe Reles"}
Jack Kruschen -- The Apartment {"Dr. Dreyfuss"}
Sal Mineo -- Exodus {"Dov Landau"}
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Peter Ustinov -- Spartacus {"Batiatus"}
Chill Wills -- The Alamo {"Beekeeper"}
Greer Garson -- Sunrise at Campobello {"Eleanor Roosevelt"}
Deborah Kerr -- The Sundowners {"Ida Carmody"}
Shirley MacLaine -- The Apartment {"Fran Kubelik"}
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Elizabeth Taylor -- Butterfield 8 {"Gloria Wandrous"}
Glynis Johns -- The Sundowners {"Mrs. Firth"}
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Shirley Jones -- Elmer Gantry {"Lulu Bains"}
Janet Leigh -- Psycho {"Marion Crane"}
Mary Ure -- Sons and Lovers {"Clara Dawes"}
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"Faraway Part Of Town" from Pepe -- Music by Andre Previn; Lyrics by Dory Langdon
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[NOTE: Upon request of his widow and upon recommendation of the Writers Branch Executive Committee, the Board of Governors voted on June 22, 1993, to restore the name of Nedrick Young to the nominations and award presented to Nathan E. Douglas (Mr. Young's pseudonym during the blacklisting period).]
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1961 (34th)
Charles Boyer -- Fanny {"César"}
Paul Newman -- The Hustler {"Eddie Felson"}
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Spencer Tracy -- Judgment at Nuremberg {"Judge Dan Haywood"}
Stuart Whitman -- The Mark {"Jim Fuller"}
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Montgomery Clift -- Judgment at Nuremberg {"Rudolph Petersen"}
Jackie Gleason -- The Hustler {"Minnesota Fats"}
George C. Scott -- The Hustler {"Bert Gordon"}
Audrey Hepburn -- Breakfast at Tiffany's {"Holly Golightly"}
Piper Laurie -- The Hustler {"Sarah Packard"}
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Sophia Loren -- Two Women {"Cesira"}
Geraldine Page -- Summer and Smoke {"Alma Winemiller"}
Natalie Wood -- Splendor in the Grass {"Wilma Dean Loomis"}
Fay Bainter -- The Children's Hour {"Mrs. Amelia Tilford"}
Judy Garland -- Judgment at Nuremberg {"Irene Hoffman"}
Lotte Lenya -- The Roman Spring of Mrs. Stone {"Countess Magda Terribili-Gonzales"}
Una Merkel -- Summer and Smoke {"Mrs. Winemiller"}
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"Love Theme From El Cid (The Falcon And The Dove)" from El Cid -- Music by Miklos Rozsa; Lyrics by Paul Francis Webster
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1962 (35th)
Burt Lancaster -- Birdman of Alcatraz {"Robert Stroud"}
Peter O'Toole -- Lawrence of Arabia {"T.E. Lawrence"}
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Gregory Peck -- To Kill a Mockingbird {"Atticus Finch"}
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Ed Begley -- Sweet Bird of Youth {"Tom 'Boss' Finley"}
Omar Sharif -- Lawrence of Arabia {"Sherif Ali ibn el Kharish"}
Terence Stamp -- Billy Budd {"Billy Budd"}
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Anne Bancroft -- The Miracle Worker {"Annie Sullivan"}
Geraldine Page -- Sweet Bird of Youth {"Alexandra Del Lago"}
Lee Remick -- Days of Wine and Roses {"Kirsten Arnesen"}
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Patty Duke -- The Miracle Worker {"Helen Keller"}
Shirley Knight -- Sweet Bird of Youth {"Heavenly Finley"}
Angela Lansbury -- The Manchurian Candidate {"Raymond's Mother"}
Thelma Ritter -- Birdman of Alcatraz {"Elizabeth Stroud"}
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[NOTE: Originally, the three names of Jean Bourgoin, Henri Persin and Walter Wottitz (as listed on the Official Screen Credits form) were announced as nominees for this film in this category. The credits from the film listed four Directors of Photography (in the following order), Mr. Persin, Mr. Wottitz, Pierre Levent and Mr. Bourgoin. The program for the Awards ceremony and even the official letter from Price Waterhouse with the results of the final voting for the awards listed the three names as winners in this category. At some point, the name of Henri Persin was dropped from the nomination, as his name has been "whited-out" from the official wording for the nomination certificates, and the nominations and winners lists the Academy publishes do not include his name. The Academy's records and files give no reason for this exclusion.]
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"Love Song From Mutiny On The Bounty (Follow Me)" from Mutiny on the Bounty -- Music by Bronislau Kaper; Lyrics by Paul Francis Webster
"Song From Two For The Seesaw (Second Chance)" from Two for the Seesaw -- Music by Andre Previn; Lyrics by Dory Langdon
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[NOTE: The Board of Governors voted on September 26, 1995 to grant then-blacklisted writer Michael Wilson an Academy Award nomination, along with Robert Bolt, for Lawrence of Arabia. This was the result of a Writers Guild of America finding that Wilson and Bolt share the credit for the screenplay.]
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1963 (36th)
Albert Finney -- Tom Jones {"Tom Jones"}
Richard Harris -- This Sporting Life {"Frank Machin"}
Rex Harrison -- Cleopatra {"Julius Caesar"}
Paul Newman -- Hud {"Hud Bannon"}
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Nick Adams -- Twilight of Honor {"Ben Brown"}
Bobby Darin -- Captain Newman, M.D. {"Corp. Jim Tompkins"}
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Melvyn Douglas -- Hud {"Homer Bannon"}
Hugh Griffith -- Tom Jones {"Squire Western"}
John Huston -- The Cardinal {"Cardinal Glennon"}
Shirley MacLaine -- Irma La Douce {"Irma La Douce"}
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Patricia Neal -- Hud {"Alma"}
Rachel Roberts -- This Sporting Life {"Mrs. Hammond"}
Diane Cilento -- Tom Jones {"Molly"}
Dame Edith Evans -- Tom Jones {"Miss Western"}
Joyce Redman -- Tom Jones {"Mrs. Waters"}
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Margaret Rutherford -- The V.I.P.s {"Duchess of Brighton"}
Lilia Skala -- Lilies of the Field {"Mother Maria"}
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. After the nominations were announced, it was discovered that this film was first released prior to the eligibility period, and the nomination was withdrawn.]
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1964 (37th)
Richard Burton -- Becket {"Thomas Becket"}
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Rex Harrison -- My Fair Lady {"Professor Henry Higgins"}
Peter O'Toole -- Becket {"King Henry II"}
Anthony Quinn -- Zorba the Greek {"Alexis Zorba"}
Peter Sellers -- Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb {"Group Captain Lionel Mandrake/President Muffley/Dr. Strangelove"}
John Gielgud -- Becket {"King Louis VII of France"}
Stanley Holloway -- My Fair Lady {"Alfred P. Doolittle"}
Edmond O'Brien -- Seven Days in May {"Senator Raymond Clark"}
Lee Tracy -- The Best Man {"Art Hockstader"}
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Peter Ustinov -- Topkapi {"Arthur Simpson"}
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Julie Andrews -- Mary Poppins {"Mary Poppins"}
Anne Bancroft -- The Pumpkin Eater {"Jo Armitage"}
Sophia Loren -- Marriage Italian Style {"Filomena Marturano"}
Gladys Cooper -- My Fair Lady {"Mrs. Higgins"}
Dame Edith Evans -- The Chalk Garden {"Mrs. St. Maugham"}
Grayson Hall -- The Night of the Iguana {"Judith Fellowes"}
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Lila Kedrova -- Zorba the Greek {"Madame Hortense"}
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1965 (38th)
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Lee Marvin -- Cat Ballou {"Kid Shelleen/Tim Strawn"}
Laurence Olivier -- Othello {"Othello"}
Rod Steiger -- The Pawnbroker {"Sol Nazerman"}
Oskar Werner -- Ship of Fools {"Dr. Schumann"}
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Martin Balsam -- A Thousand Clowns {"Arnold Burns"}
Tom Courtenay -- Doctor Zhivago {"Pasha Antipov/Strelnikoff"}
Michael Dunn -- Ship of Fools {"Glocken"}
Frank Finlay -- Othello {"Iago"}
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Julie Christie -- Darling {"Diana Scott"}
Samantha Eggar -- The Collector {"Miranda Grey"}
Elizabeth Hartman -- A Patch of Blue {"Selina D'Arcey"}
Simone Signoret -- Ship of Fools {"La Condessa"}
Ruth Gordon -- Inside Daisy Clover {"The Dealer"}
Joyce Redman -- Othello {"Emilia"}
Maggie Smith -- Othello {"Desdemona"}
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Shelley Winters -- A Patch of Blue {"Rose-Ann D'Arcey"}
Peggy Wood -- The Sound of Music {"Mother Abbess"}
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1966 (39th)
Michael Caine -- Alfie {"Alfie"}
Steve McQueen -- The Sand Pebbles {"Jake Holman"}
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Paul Scofield -- A Man for All Seasons {"Sir Thomas More"}
Mako -- The Sand Pebbles {"Po-Han"}
James Mason -- Georgy Girl {"James Leamington"}
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Walter Matthau -- The Fortune Cookie {"Willie Gingrich"}
Robert Shaw -- A Man for All Seasons {"King Henry VIII"}
Anouk Aimee -- A Man and a Woman {"Anne Gauthier"}
Ida Kaminska -- The Shop on Main Street {"Rozalie Lautmanova"}
Lynn Redgrave -- Georgy Girl {"Georgy Parkin"}
Vanessa Redgrave -- Morgan! {"Leonie Delt"}
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Jocelyne Lagarde -- Hawaii {"Malama"}
Vivien Merchant -- Alfie {"Lily"}
Geraldine Page -- You're a Big Boy Now {"Margary Chanticleer"}
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1967 (40th)
Warren Beatty -- Bonnie and Clyde {"Clyde Barrow"}
Dustin Hoffman -- The Graduate {"Ben Braddock"}
Paul Newman -- Cool Hand Luke {"Luke Jackson"}
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Rod Steiger -- In the Heat of the Night {"Police Chief Bill Gillespie"}
John Cassavetes -- The Dirty Dozen {"Victor Franko"}
Gene Hackman -- Bonnie and Clyde {"Buck Barrow"}
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Anne Bancroft -- The Graduate {"Mrs. Robinson"}
Faye Dunaway -- Bonnie and Clyde {"Bonnie Parker"}
Audrey Hepburn -- Wait until Dark {"Susy Hendrix"}
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Carol Channing -- Thoroughly Modern Millie {"Muzzy Van Hossmere"}
Mildred Natwick -- Barefoot in the Park {"Mrs. Ethel Banks"}
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Estelle Parsons -- Bonnie and Clyde {"Blanche Barrow"}
Katharine Ross -- The Graduate {"Elaine Robinson"}
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"The Bare Necessities" from The Jungle Book -- Music and Lyrics by Terry Gilkyson
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1968 (41st)
Alan Bates -- The Fixer {"Yakov Bok"}
Ron Moody -- Oliver! {"Fagin"}
Peter O'Toole -- The Lion in Winter {"King Henry II"}
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Cliff Robertson -- Charly {"Charly Gordon"}
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Seymour Cassel -- Faces {"Chet"}
Daniel Massey -- Star! {"Noel Coward"}
Jack Wild -- Oliver! {"The Artful Dodger"}
Gene Wilder -- The Producers {"Leo Bloom"}
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Katharine Hepburn -- The Lion in Winter {"Queen Eleanor of Aquitaine"}
[NOTE: A tie. The other winner in this category was Barbra Streisand (Funny Girl).]
Patricia Neal -- The Subject Was Roses {"Nettie Cleary"}
Vanessa Redgrave -- Isadora {"Isadora Duncan"}
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Barbra Streisand -- Funny Girl {"Fanny Brice"}
[NOTE: A tie. The other winner in this category was Katharine Hepburn (The Lion in Winter).]
Joanne Woodward -- Rachel, Rachel {"Rachel Cameron"}
Lynn Carlin -- Faces {"Maria Forst"}
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Ruth Gordon -- Rosemary's Baby {"Minnie Castevet"}
Kay Medford -- Funny Girl {"Rose Brice"}
Estelle Parsons -- Rachel, Rachel {"Calla Mackie"}
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[NOTE: At the 41st Awards ceremony on April 14, 1969, Young Americans was announced as the winner of the Documentary Feature Oscar. On May 7, 1969, the film was declared ineligible after it was revealed that the film had played in October of 1967, therefore ineligible for a 1968 Award. The first runner-up, Journey into Self, was awarded the statuette on May 8, 1969.]
[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. At the 41st Awards ceremony on April 14, 1969, Young Americans was announced as the winner of the Documentary Feature Oscar. On May 7, 1969, the film was declared ineligible after it was revealed that the film had played in October of 1967, therefore ineligible for a 1968 Award. The first runner-up, Journey into Self, was awarded the statuette on May 8, 1969.]
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1969 (42nd)
Dustin Hoffman -- Midnight Cowboy {"Ratso Rizzo"}
Peter O'Toole -- Goodbye, Mr. Chips {"Arthur Chipping"}
Jon Voight -- Midnight Cowboy {"Joe Buck"}
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John Wayne -- True Grit {"Rooster Cogburn"}
Rupert Crosse -- The Reivers {"Ned McCaslin"}
Jack Nicholson -- Easy Rider {"George Hanson"}
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Liza Minnelli -- The Sterile Cuckoo {"Pookie Adams"}
Jean Simmons -- The Happy Ending {"Mary Wilson"}
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Dyan Cannon -- Bob & Carol & Ted & Alice {"Alice Henderson"}
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Goldie Hawn -- Cactus Flower {"Toni Simmons"}
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[NOTE: Film received its 1969 nomination under the title My Night with Maud. It had no US distributor at the time.]
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1970 (43rd)
James Earl Jones -- The Great White Hope {"Jack Jefferson"}
Jack Nicholson -- Five Easy Pieces {"Robert Eroica Dupea"}
Ryan O'Neal -- Love Story {"Oliver Barrett IV"}
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George C. Scott -- Patton {"General George S. Patton, Jr."}
[NOTE: Mr. Scott refused the award.]
Chief Dan George -- Little Big Man {"Old Lodge Skins"}
John Marley -- Love Story {"Phil Cavilleri"}
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John Mills -- Ryan's Daughter {"Michael"}
Jane Alexander -- The Great White Hope {"Eleanor Bachman"}
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Glenda Jackson -- Women in Love {"Gudrun Brangwen"}
Ali MacGraw -- Love Story {"Jenny Cavilleri"}
Sarah Miles -- Ryan's Daughter {"Rosy Ryan"}
Karen Black -- Five Easy Pieces {"Rayette Dipesto"}
Lee Grant -- The Landlord {"Mrs. Enders"}
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Helen Hayes -- Airport {"Ada Quonsett"}
Sally Kellerman -- M*A*S*H {"Major Margaret 'Hot Lips' Houlihan"}
Maureen Stapleton -- Airport {"Inez Guerrero"}
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"Thank You Very Much" from Scrooge -- Music and Lyrics by Leslie Bricusse
"Till Love Touches Your Life" from Madron -- Music by Riz Ortolani; Lyrics by Arthur Hamilton
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1971 (44th)
Peter Finch -- Sunday Bloody Sunday {"Dr. Daniel Hirsh"}
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Gene Hackman -- The French Connection {"Jimmy 'Popeye' Doyle"}
Walter Matthau -- Kotch {"Joseph P. Kotcher"}
George C. Scott -- The Hospital {"Dr. Herbert Bock"}
Jeff Bridges -- The Last Picture Show {"Duane Jackson"}
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Ben Johnson -- The Last Picture Show {"Sam the Lion"}
Julie Christie -- McCabe & Mrs. Miller {"Mrs. Constance Miller"}
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Jane Fonda -- Klute {"Bree Daniel"}
Glenda Jackson -- Sunday Bloody Sunday {"Alex Greville"}
Vanessa Redgrave -- Mary, Queen of Scots {"Mary, Queen of Scots"}
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Margaret Leighton -- The Go-Between {"Mrs. Maudsley"}
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"Life Is What You Make It" from Kotch -- Music by Marvin Hamlisch; Lyrics by Johnny Mercer
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"Theme From Shaft" from Shaft -- Music and Lyrics by Isaac Hayes
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1972 (45th)
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Marlon Brando -- The Godfather {"Don Vito Corleone"}
[NOTE: Mr. Brando refused the award.]
Michael Caine -- Sleuth {"Milo Tindale"}
Laurence Olivier -- Sleuth {"Andrew Wyke"}
Peter O'Toole -- The Ruling Class {"Jack, 14th Earl of Gurney"}
Paul Winfield -- Sounder {"Nathan Lee Morgan"}
Eddie Albert -- The Heartbreak Kid {"Mr. Corcoran"}
James Caan -- The Godfather {"Sonny Corleone"}
Robert Duvall -- The Godfather {"Tom Hagen"}
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Joel Grey -- Cabaret {"The Master of Ceremonies"}
Al Pacino -- The Godfather {"Michael Corleone"}
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Liza Minnelli -- Cabaret {"Sally Bowles"}
Diana Ross -- Lady Sings the Blues {"Billie Holiday"}
Maggie Smith -- Travels with My Aunt {"Aunt Augusta"}
Cicely Tyson -- Sounder {"Rebecca Morgan"}
Liv Ullmann -- The Emigrants {"Kristina"}
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. The Godfather score, composed by Nino Rota, was originally announced as one of the five official nominees. It was later pointed out that portions of the score and the main theme were composed by Rota for his score to the 1958 Italian film, Fortunella. The Music Branch was given this information and re-balloted to determine the fifth nomination. The list of six films they were to choose from were the remaining five of the top ten preliminary listings, plus The Godfather score. The results of the re-balloting was that the fifth nomination became Sleuth, composed by John Addison.]
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[NOTE: The Godfather score, composed by Nino Rota, was originally announced as one of the five official nominees. It was later pointed out that portions of the score and the main theme were composed by Rota for his score to the 1958 Italian film, Fortunella. The Music Branch was given this information and re-balloted to determine the fifth nomination. The list of six films they were to choose from were the remaining five of the top ten preliminary listings, plus The Godfather score. The results of the re-balloting was that the fifth nomination became Sleuth, composed by John Addison.]
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[NOTE: The Academy's Board of Governors voted to confer this award on January 6, 1973. Mr. Robinson passed away on January 26th, and the award was accepted on his behalf by his wife.]
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1973 (46th)
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Jack Lemmon -- Save the Tiger {"Harry Stoner"}
Jack Nicholson -- The Last Detail {"Signalman First Class Buddusky"}
Al Pacino -- Serpico {"Frank Serpico"}
Robert Redford -- The Sting {"Johnny Hooker"}
Jack Gilford -- Save the Tiger {"Phil Greene"}
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John Houseman -- The Paper Chase {"Professor Kingsfield"}
Jason Miller -- The Exorcist {"Father Damian Karras"}
Ellen Burstyn -- The Exorcist {"Chris MacNeil"}
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Glenda Jackson -- A Touch of Class {"Vicki Allessio"}
Marsha Mason -- Cinderella Liberty {"Maggie Paul"}
Barbra Streisand -- The Way We Were {"Katie Morosky"}
Linda Blair -- The Exorcist {"Regan MacNeil"}
Madeline Kahn -- Paper Moon {"Trixie Delight"}
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Tatum O'Neal -- Paper Moon {"Addie Loggins"}
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"All That Love Went To Waste" from A Touch of Class -- Music by George Barrie; Lyrics by Sammy Cahn
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1974 (47th)
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Dustin Hoffman -- Lenny {"Lenny Bruce"}
Jack Nicholson -- Chinatown {"J. J. Gittes"}
Al Pacino -- The Godfather Part II {"Michael Corleone"}
Fred Astaire -- The Towering Inferno {"Harlee Claiborne"}
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Michael V. Gazzo -- The Godfather Part II {"Frankie Pentangeli"}
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Diahann Carroll -- Claudine {"Claudine"}
Faye Dunaway -- Chinatown {"Evelyn Cross Mulwray"}
Valerie Perrine -- Lenny {"Honey Bruce"}
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Madeline Kahn -- Blazing Saddles {"Lili Von Shtupp"}
Talia Shire -- The Godfather Part II {"Connie Corleone"}
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"Benji's Theme (I Feel Love)" from Benji -- Music by Euel Box; Lyrics by Betty Box
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"We May Never Love Like This Again" from The Towering Inferno -- Music and Lyrics by Al Kasha and Joel Hirschhorn
"Wherever Love Takes Me" from Gold -- Music by Elmer Bernstein; Lyrics by Don Black
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1975 (48th)
Walter Matthau -- The Sunshine Boys {"Willy Clark"}
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Jack Nicholson -- One Flew over the Cuckoo's Nest {"Randle Patrick McMurphy"}
James Whitmore -- Give 'em Hell, Harry! {"Harry S. Truman"}
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Jack Warden -- Shampoo {"Lester Carr"}
Ann-Margret -- Tommy {"Nora Walker Hobbs"}
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Louise Fletcher -- One Flew over the Cuckoo's Nest {"Nurse Mildred Ratched"}
Glenda Jackson -- Hedda {"Hedda Gabler"}
Ronee Blakley -- Nashville {"Barbara Jean"}
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Lee Grant -- Shampoo {"Felicia Karpf"}
Sylvia Miles -- Farewell, My Lovely {"Mrs. Florian"}
Lily Tomlin -- Nashville {"Linnea Reese"}
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"Now That We're In Love" from Whiffs -- Music by George Barrie; Lyrics by Sammy Cahn
"Theme From Mahogany (Do You Know Where You're Going To)" from Mahogany -- Music by Michael Masser; Lyrics by Gerry Goffin
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1976 (49th)
Robert De Niro -- Taxi Driver {"Travis Bickle"}
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Peter Finch -- Network {"Howard Beale"}
Giancarlo Giannini -- Seven Beauties {"Pasqualino Frafuso"}
William Holden -- Network {"Max Schumacher"}
Sylvester Stallone -- Rocky {"Rocky Balboa"}
Ned Beatty -- Network {"Arthur Jensen"}
Burgess Meredith -- Rocky {"Mickey"}
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Burt Young -- Rocky {"Paulie"}
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Faye Dunaway -- Network {"Diana Christensen"}
Talia Shire -- Rocky {"Adrian"}
Sissy Spacek -- Carrie {"Carrie White"}
Liv Ullmann -- Face to Face {"Dr. Jenny Isaksson"}
Lee Grant -- Voyage of the Damned {"Lilian Rosen"}
Piper Laurie -- Carrie {"Margaret White"}
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Beatrice Straight -- Network {"Louise Schumacher"}
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"Evergreen (Love Theme From A Star Is Born)" from A Star Is Born -- Music by Barbra Streisand; Lyrics by Paul Williams
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1977 (50th)
Woody Allen -- Annie Hall {"Alvy Singer"}
Richard Burton -- Equus {"Dr. Martin Dysart"}
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Richard Dreyfuss -- The Goodbye Girl {"Elliot Garfield"}
Mikhail Baryshnikov -- The Turning Point {"Yuri Kopeikine"}
Peter Firth -- Equus {"Alan Strang"}
Alec Guinness -- Star Wars {"Ben 'Obi-Wan' Kenobi"}
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Jason Robards -- Julia {"Dashiell Hammett"}
Maximilian Schell -- Julia {"Johann"}
Anne Bancroft -- The Turning Point {"Emma Jacklin"}
Jane Fonda -- Julia {"Lillian Hellman"}
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Diane Keaton -- Annie Hall {"Annie Hall"}
Shirley MacLaine -- The Turning Point {"Deedee Rodgers"}
Marsha Mason -- The Goodbye Girl {"Paula McFadden"}
Leslie Browne -- The Turning Point {"Emilia Rodgers"}
Quinn Cummings -- The Goodbye Girl {"Lucy McFadden"}
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Vanessa Redgrave -- Julia {"Julia"}
Tuesday Weld -- Looking for Mr. Goodbar {"Katherine Dunn"}
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"The Slipper And The Rose Waltz (He Danced With Me/She Danced With Me)" from The Slipper and the Rose--The Story of Cinderella -- Music and Lyrics by Richard M. Sherman and Robert B. Sherman
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1978 (51st)
Warren Beatty -- Heaven Can Wait {"Joe Pendleton (alias, Leo Farnsworth, Tom Jarrett)"}
Gary Busey -- The Buddy Holly Story {"Buddy Holly"}
Laurence Olivier -- The Boys from Brazil {"Ezra Lieberman"}
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Jon Voight -- Coming Home {"Luke Martin"}
Bruce Dern -- Coming Home {"Captain Bob Hyde"}
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Jack Warden -- Heaven Can Wait {"Max Corkle"}
Ingrid Bergman -- Autumn Sonata {"Charlotte Andergast"}
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Jane Fonda -- Coming Home {"Sally Hyde"}
Dyan Cannon -- Heaven Can Wait {"Julia Farnsworth"}
Penelope Milford -- Coming Home {"Viola Munson"}
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Maggie Smith -- California Suite {"Diana Barrie"}
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"Hopelessly Devoted To You" from Grease -- Music and Lyrics by John Farrar
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"Ready To Take A Chance Again" from Foul Play -- Music by Charles Fox; Lyrics by Norman Gimbel
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1979 (52nd)
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Jack Lemmon -- The China Syndrome {"Jack Godell"}
Al Pacino -- ...And Justice for All {"Arthur Kirkland"}
Roy Scheider -- All That Jazz {"Joe Gideon"}
Peter Sellers -- Being There {"John Chance, the gardener (aka Chauncey Gardiner)"}
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Melvyn Douglas -- Being There {"Benjamin Rand"}
Robert Duvall -- Apocalypse Now {"Lieutenant Colonel Kilgore"}
Justin Henry -- Kramer vs. Kramer {"Billy Kramer"}
Mickey Rooney -- The Black Stallion {"Henry Dailey"}
Jill Clayburgh -- Starting Over {"Marilyn Homberg"}
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Sally Field -- Norma Rae {"Norma Rae"}
Jane Fonda -- The China Syndrome {"Kimberly Wells"}
Marsha Mason -- Chapter Two {"Jennie MacLaine"}
Bette Midler -- The Rose {"Rose"}
Jane Alexander -- Kramer vs. Kramer {"Margaret Phelps"}
Barbara Barrie -- Breaking Away {"Mrs. Stohler"}
Candice Bergen -- Starting Over {"Jessica Potter"}
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Meryl Streep -- Kramer vs. Kramer {"Joanna Kramer"}
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1980 (53rd)
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Robert De Niro -- Raging Bull {"Jake LaMotta"}
Robert Duvall -- The Great Santini {"Bull Meechum"}
John Hurt -- The Elephant Man {"John Merrick"}
Jack Lemmon -- Tribute {"Scottie Templeton"}
Peter O'Toole -- The Stunt Man {"Eli Cross"}
Judd Hirsch -- Ordinary People {"Dr. Berger"}
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Timothy Hutton -- Ordinary People {"Conrad Jarrett"}
Joe Pesci -- Raging Bull {"Joey LaMotta"}
Jason Robards -- Melvin and Howard {"Howard Hughes"}
Ellen Burstyn -- Resurrection {"Edna May"}
Goldie Hawn -- Private Benjamin {"Judy Benjamin"}
Mary Tyler Moore -- Ordinary People {"Beth Jarrett"}
Gena Rowlands -- Gloria {"Gloria Swenson"}
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Sissy Spacek -- Coal Miner's Daughter {"Loretta Lynn"}
Eileen Brennan -- Private Benjamin {"Captain Doreen Lewis"}
Eva Le Gallienne -- Resurrection {"Grandma Pearl"}
Cathy Moriarty -- Raging Bull {"Vicki LaMotta"}
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Mary Steenburgen -- Melvin and Howard {"Lynda Dummar"}
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1981 (54th)
Warren Beatty -- Reds {"John 'Jack' Reed"}
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Henry Fonda -- On Golden Pond {"Norman Thayer, Jr."}
Dudley Moore -- Arthur {"Arthur Bach"}
Paul Newman -- Absence of Malice {"Michael Gallagher"}
James Coco -- Only When I Laugh {"Jimmy Perry"}
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John Gielgud -- Arthur {"Hobson"}
Ian Holm -- Chariots of Fire {"Sam Mussabini"}
Jack Nicholson -- Reds {"Eugene O'Neill"}
Howard E. Rollins, Jr. -- Ragtime {"Coalhouse Walker, Jr."}
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Katharine Hepburn -- On Golden Pond {"Ethel Thayer"}
Diane Keaton -- Reds {"Louise Bryant"}
Meryl Streep -- The French Lieutenant's Woman {"Sara Woodruff/Anna"}
Jane Fonda -- On Golden Pond {"Chelsea Thayer Wayne"}
Joan Hackett -- Only When I Laugh {"Toby Landau"}
Elizabeth McGovern -- Ragtime {"Evelyn Nesbit"}
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Maureen Stapleton -- Reds {"Emma Goldman"}
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"The First Time It Happens" from The Great Muppet Caper -- Music and Lyric by Joe Raposo
"One More Hour" from Ragtime -- Music and Lyric by Randy Newman
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1982 (55th)
Dustin Hoffman -- Tootsie {"Michael Dorsey/Dorothy Michaels"}
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Ben Kingsley -- Gandhi {"Mahatma Gandhi"}
Jack Lemmon -- Missing {"Edmund Horman"}
Paul Newman -- The Verdict {"Frank Galvin"}
Peter O'Toole -- My Favorite Year {"Alan Swann"}
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James Mason -- The Verdict {"Edward Concannon"}
Julie Andrews -- Victor/Victoria {"Victor/Victoria"}
Jessica Lange -- Frances {"Frances Farmer"}
Sissy Spacek -- Missing {"Beth Horman"}
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Teri Garr -- Tootsie {"Sandy Lester"}
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Jessica Lange -- Tootsie {"Julie Nichols"}
Kim Stanley -- Frances {"Lillian Farmer"}
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1983 (56th)
Michael Caine -- Educating Rita {"Dr. Frank Bryant"}
Tom Conti -- Reuben, Reuben {"Gowan McGland"}
Tom Courtenay -- The Dresser {"Norman"}
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Robert Duvall -- Tender Mercies {"Mac Sledge"}
Charles Durning -- To Be or Not to Be {"Col. Erhardt"}
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Jack Nicholson -- Terms of Endearment {"Garrett Breedlove"}
Sam Shepard -- The Right Stuff {"Chuck Yeager"}
Rip Torn -- Cross Creek {"Marsh Turner"}
Jane Alexander -- Testament {"Carol Wetherly"}
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Shirley MacLaine -- Terms of Endearment {"Aurora Greenway"}
Meryl Streep -- Silkwood {"Karen Silkwood"}
Debra Winger -- Terms of Endearment {"Emma Horton"}
Cher -- Silkwood {"Dolly Pelliker"}
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Amy Irving -- Yentl {"Hadaas"}
Alfre Woodard -- Cross Creek {"Geechee"}
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1984 (57th)
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F. Murray Abraham -- Amadeus {"Antonio Salieri"}
Jeff Bridges -- Starman {"Starman"}
Albert Finney -- Under the Volcano {"Geoffrey Firmin"}
Tom Hulce -- Amadeus {"Wolfgang Amadeus Mozart"}
Sam Waterston -- The Killing Fields {"Sydney Schanberg"}
Adolph Caesar -- A Soldier's Story {"Sgt. Waters"}
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Judy Davis -- A Passage to India {"Adela Quested"}
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Sally Field -- Places in the Heart {"Edna Spalding"}
Jessica Lange -- Country {"Jewell Ivy"}
Vanessa Redgrave -- The Bostonians {"Olive Chancellor"}
Sissy Spacek -- The River {"Mae Garvey"}
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Lindsay Crouse -- Places in the Heart {"Margaret Lomax"}
Christine Lahti -- Swing Shift {"Hazel Zanussi"}
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"Against All Odds (Take A Look At Me Now)" from Against All Odds -- Music and Lyric by Phil Collins
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"I Just Called To Say I Love You" from The Woman in Red -- Music and Lyric by Stevie Wonder
"Let's Hear It For The Boy" from Footloose -- Music and Lyric by Tom Snow and Dean Pitchford
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1985 (58th)
Harrison Ford -- Witness {"John Book"}
James Garner -- Murphy's Romance {"Murphy Jones"}
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Jack Nicholson -- Prizzi's Honor {"Charley Partanna"}
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Don Ameche -- Cocoon {"Art Selwyn"}
William Hickey -- Prizzi's Honor {"Don Corrado Prizzi"}
Robert Loggia -- Jagged Edge {"Sam Ransom"}
Anne Bancroft -- Agnes of God {"Sister Miriam Ruth"}
Jessica Lange -- Sweet Dreams {"Patsy Cline"}
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Margaret Avery -- The Color Purple {"Shug Avery"}
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Anjelica Huston -- Prizzi's Honor {"Maerose Prizzi"}
Amy Madigan -- Twice in a Lifetime {"Sunny Sobel"}
Meg Tilly -- Agnes of God {"Sister Agnes"}
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"Separate Lives (Love Theme From 'White Nights')" from White Nights -- Music and Lyric by Stephen Bishop
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1986 (59th)
Dexter Gordon -- 'Round Midnight {"Dale Turner"}
Bob Hoskins -- Mona Lisa {"George"}
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Paul Newman -- The Color of Money {"Eddie Felson"}
James Woods -- Salvador {"Richard Boyle"}
Tom Berenger -- Platoon {"Sgt. Barnes"}
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Willem Dafoe -- Platoon {"Sgt. Elias"}
Dennis Hopper -- Hoosiers {"Shooter"}
Jane Fonda -- The Morning After {"Alex Sternbergen"}
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Sissy Spacek -- Crimes of the Heart {"Babe Magrath"}
Sigourney Weaver -- Aliens {"Ripley"}
Tess Harper -- Crimes of the Heart {"Chick Boyle"}
Maggie Smith -- A Room with a View {"Charlotte Bartlett"}
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[NOTE: A tie. The other winning film in this category was Down and Out in America.]
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[NOTE: A tie. The other winning film in this category was Artie Shaw: Time Is All You've Got.]
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"Mean Green Mother From Outer Space" from Little Shop of Horrors -- Music by Alan Menken; Lyric by Howard Ashman
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1987 (60th)
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Michael Douglas -- Wall Street {"Gordon Gekko"}
William Hurt -- Broadcast News {"Tom Grunick"}
Jack Nicholson -- Ironweed {"Francis Phelan"}
Robin Williams -- Good Morning, Vietnam {"Adrian Cronauer"}
Albert Brooks -- Broadcast News {"Aaron Altman"}
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Sean Connery -- The Untouchables {"Jim Malone"}
Morgan Freeman -- Street Smart {"Fast Black"}
Vincent Gardenia -- Moonstruck {"Cosmo Castorini"}
Denzel Washington -- Cry Freedom {"Steve Biko"}
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Cher -- Moonstruck {"Loretta Castorini"}
Glenn Close -- Fatal Attraction {"Alex Forrest"}
Holly Hunter -- Broadcast News {"Jane Craig"}
Sally Kirkland -- Anna {"Anna"}
Meryl Streep -- Ironweed {"Helen"}
Anne Archer -- Fatal Attraction {"Beth Gallagher"}
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Olympia Dukakis -- Moonstruck {"Rose Castorini"}
Ann Sothern -- The Whales of August {"Tisha Doughty"}
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"Nothing's Gonna Stop Us Now" from Mannequin -- Music and Lyric by Albert Hammond and Diane Warren
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1988 (61st)
Tom Hanks -- Big {"Josh"}
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Dustin Hoffman -- Rain Man {"Raymond Babbitt"}
Edward James Olmos -- Stand and Deliver {"Jaime Escalante"}
Max von Sydow -- Pelle the Conqueror {"Lasse Karlsson"}
Alec Guinness -- Little Dorrit {"William Dorrit"}
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River Phoenix -- Running on Empty {"Danny Pope"}
Dean Stockwell -- Married to the Mob {"Tony 'the Tiger' Russo"}
Glenn Close -- Dangerous Liaisons {"Marquise de Merteuil"}
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Jodie Foster -- The Accused {"Sarah Tobias"}
Melanie Griffith -- Working Girl {"Tess McGill"}
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Michelle Pfeiffer -- Dangerous Liaisons {"Madame de Tourvel"}
Sigourney Weaver -- Working Girl {"Katharine Parker"}
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"Let The River Run" from Working Girl -- Music and Lyric by Carly Simon
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1989 (62nd)
Kenneth Branagh -- Henry V {"Henry V"}
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Daniel Day Lewis -- My Left Foot {"Christy Brown"}
Morgan Freeman -- Driving Miss Daisy {"Hoke Colburn"}
Robin Williams -- Dead Poets Society {"John Keating"}
Dan Aykroyd -- Driving Miss Daisy {"Boolie Werthan"}
Martin Landau -- Crimes and Misdemeanors {"Judah Rosenthal"}
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Isabelle Adjani -- Camille Claudel {"Camille Claudel"}
Pauline Collins -- Shirley Valentine {"Shirley Valentine"}
Jessica Lange -- Music Box {"Ann Talbot"}
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Jessica Tandy -- Driving Miss Daisy {"Daisy Werthan"}
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Brenda Fricker -- My Left Foot {"Mrs. Brown"}
Julia Roberts -- Steel Magnolias {"Shelby Eatenton"}
Dianne Wiest -- Parenthood {"Helen"}
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"I Love To See You Smile" from Parenthood -- Music and Lyric by Randy Newman
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1990 (63rd)
Kevin Costner -- Dances With Wolves {"Lieutenant Dunbar"}
Robert De Niro -- Awakenings {"Leonard Lowe"}
Gerard Depardieu -- Cyrano de Bergerac {"Cyrano de Bergerac"}
Richard Harris -- The Field {"Bull McCabe"}
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Jeremy Irons -- Reversal of Fortune {"Claus Von Bulow"}
Andy Garcia -- The Godfather, Part III {"Vincent Mancini"}
Graham Greene -- Dances With Wolves {"Kicking Bird"}
Al Pacino -- Dick Tracy {"Big Boy Caprice"}
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Joe Pesci -- Good Fellas {"Tommy DeVito"}
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Kathy Bates -- Misery {"Annie Wilkes"}
Anjelica Huston -- The Grifters {"Lilly Dillon"}
Julia Roberts -- Pretty Woman {"Vivian Ward"}
Joanne Woodward -- Mr. & Mrs. Bridge {"India Bridge"}
Annette Bening -- The Grifters {"Myra Langtry"}
Lorraine Bracco -- Good Fellas {"Karen Hill"}
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Whoopi Goldberg -- Ghost {"Oda Mae Brown"}
Diane Ladd -- Wild at Heart {"Marietta Fortune"}
Mary McDonnell -- Dances With Wolves {"Stands With A Fist"}
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"Sooner Or Later (I Always Get My Man)" from Dick Tracy -- Music and Lyric by Stephen Sondheim
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1991 (64th)
Warren Beatty -- Bugsy {"Bugsy Siegel"}
Robert De Niro -- Cape Fear {"Max Cady"}
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Anthony Hopkins -- The Silence of the Lambs {"Dr. Hannibal Lecter"}
Tommy Lee Jones -- JFK {"Clay Shaw"}
Harvey Keitel -- Bugsy {"Mickey Cohen"}
Ben Kingsley -- Bugsy {"Meyer Lansky"}
Michael Lerner -- Barton Fink {"Jack Lipnick"}
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Jodie Foster -- The Silence of the Lambs {"Clarice Starling"}
Bette Midler -- For the Boys {"Dixie Leonard"}
Diane Ladd -- Rambling Rose {"Mother"}
Juliette Lewis -- Cape Fear {"Danielle Bowden"}
Kate Nelligan -- The Prince of Tides {"Lila Wingo Newbury"}
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Jessica Tandy -- Fried Green Tomatoes {"Ninny Threadgoode"}
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1992 (65th)
Robert Downey Jr. -- Chaplin {"Charles Chaplin"}
Clint Eastwood -- Unforgiven {"Bill Munny"}
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Al Pacino -- Scent of a Woman {"Lt. Col. Frank Slade"}
Denzel Washington -- Malcolm X {"Malcolm X"}
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Gene Hackman -- Unforgiven {"Little Bill Daggett"}
Jack Nicholson -- A Few Good Men {"Col. Nathan R. Jessep"}
Al Pacino -- Glengarry Glen Ross {"Ricky Roma"}
Mary McDonnell -- Passion Fish {"May-Alice"}
Michelle Pfeiffer -- Love Field {"Lurene Hallett"}
Susan Sarandon -- Lorenzo's Oil {"Michaela Odone"}
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Emma Thompson -- Howards End {"Margaret Schlegel"}
Joan Plowright -- Enchanted April {"Mrs. Fisher"}
Vanessa Redgrave -- Howards End {"Ruth Wilcox"}
Miranda Richardson -- Damage {"Ingrid"}
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Marisa Tomei -- My Cousin Vinny {"Mona Lisa Vito"}
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. After nominations were announced, information came to light that showed that this film was wholly produced in Argentina, and had insufficient Uruguayan artistic control. The film was declared ineligible and removed from the final ballot.]
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[NOTE: The Academy's Board of Governors voted to confer this award on January 12, 1993. Ms. Hepburn passed away on January 20th, and the award was accepted on her behalf by her son, Sean Hepburn Ferrer.]
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1993 (66th)
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Tom Hanks -- Philadelphia {"Andrew Beckett"}
Liam Neeson -- Schindler's List {"Oskar Schindler"}
Ralph Fiennes -- Schindler's List {"Amon Goeth"}
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Tommy Lee Jones -- The Fugitive {"Samuel Gerard"}
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Debra Winger -- Shadowlands {"Joy Gresham"}
Holly Hunter -- The Firm {"Tammy Hemphill"}
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Anna Paquin -- The Piano {"Flora"}
Rosie Perez -- Fearless {"Carla Rodrigo"}
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"Streets Of Philadelphia" from Philadelphia -- Music and Lyric by Bruce Springsteen
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1994 (67th)
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Tom Hanks -- Forrest Gump {"Forrest Gump"}
John Travolta -- Pulp Fiction {"Vincent Vega"}
Samuel L. Jackson -- Pulp Fiction {"Jules Winnfield"}
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Martin Landau -- Ed Wood {"Bela Lugosi"}
Paul Scofield -- Quiz Show {"Mark Van Doren"}
Gary Sinise -- Forrest Gump {"Lieutenant Dan"}
Jodie Foster -- Nell {"Nell"}
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Jessica Lange -- Blue Sky {"Carly Marshall"}
Winona Ryder -- Little Women {"Jo March"}
Susan Sarandon -- The Client {"Reggie Love"}
Rosemary Harris -- Tom & Viv {"Rose Haigh-Wood"}
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Dianne Wiest -- Bullets over Broadway {"Helen Sinclair"}
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"Can You Feel The Love Tonight" from The Lion King -- Music by Elton John; Lyric by Tim Rice
"Make Up Your Mind" from The Paper -- Music and Lyric by Randy Newman
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[NOTE: A tie. The other winning film in this category was Trevor.]
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[NOTE: A tie. The other winning film in this category was Franz Kafka's It's a Wonderful Life.]
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1995 (68th)
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Nicolas Cage -- Leaving Las Vegas {"Ben Sanderson"}
Richard Dreyfuss -- Mr. Holland's Opus {"Glenn Holland"}
Anthony Hopkins -- Nixon {"Richard Nixon"}
Sean Penn -- Dead Man Walking {"Matthew Poncelet"}
James Cromwell -- Babe {"Farmer Hoggett"}
Ed Harris -- Apollo 13 {"Gene Kranz"}
Brad Pitt -- 12 Monkeys {"Jeffrey Goines"}
Tim Roth -- Rob Roy {"Archibald Cunningham"}
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Kevin Spacey -- The Usual Suspects {"Roger 'Verbal' Kint"}
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Susan Sarandon -- Dead Man Walking {"Sister Helen Prejean"}
Sharon Stone -- Casino {"Ginger McKenna"}
Emma Thompson -- Sense and Sensibility {"Elinor Dashwood"}
Joan Allen -- Nixon {"Pat Nixon"}
Kathleen Quinlan -- Apollo 13 {"Marilyn Lovell"}
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Mare Winningham -- Georgia {"Georgia"}
Kate Winslet -- Sense and Sensibility {"Marianne Dashwood"}
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"You've Got A Friend In Me" from Toy Story -- Music and Lyric by Randy Newman
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1996 (69th)
Tom Cruise -- Jerry Maguire {"Jerry Maguire"}
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Geoffrey Rush -- Shine {"David Helfgott"}
Billy Bob Thornton -- Sling Blade {"Karl Childers"}
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Cuba Gooding, Jr. -- Jerry Maguire {"Rod Tidwell"}
William H. Macy -- Fargo {"Jerry Lundegaard"}
Armin Mueller-Stahl -- Shine {"Peter Helfgott"}
Edward Norton -- Primal Fear {"Aaron Stampler"}
James Woods -- Ghosts of Mississippi {"Byron De La Beckwith"}
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Frances McDormand -- Fargo {"Marge Gunderson"}
Kristin Scott Thomas -- The English Patient {"Katharine Clifton"}
Joan Allen -- The Crucible {"Elizabeth Proctor"}
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Barbara Hershey -- The Portrait of a Lady {"Madame Serena Merle"}
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1997 (70th)
Matt Damon -- Good Will Hunting {"Will Hunting"}
Robert Duvall -- The Apostle {"The Apostle E.F."}
Peter Fonda -- Ulee's Gold {"Ulee Jackson"}
Dustin Hoffman -- Wag the Dog {"Stanley Motss"}
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Jack Nicholson -- As Good as It Gets {"Melvin Udall"}
Robert Forster -- Jackie Brown {"Max Cherry"}
Anthony Hopkins -- Amistad {"John Quincy Adams"}
Greg Kinnear -- As Good as It Gets {"Simon Bishop"}
Burt Reynolds -- Boogie Nights {"Jack Horner"}
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Robin Williams -- Good Will Hunting {"Sean McGuire"}
Julie Christie -- Afterglow {"Phyllis Mann"}
Judi Dench -- Mrs. Brown {"Queen Victoria"}
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Helen Hunt -- As Good as It Gets {"Carol Connelly"}
Kate Winslet -- Titanic {"Rose DeWitt Bukater"}
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Kim Basinger -- L.A. Confidential {"Lynn Bracken"}
Joan Cusack -- In & Out {"Emily Montgomery"}
Julianne Moore -- Boogie Nights {"Amber Waves"}
Gloria Stuart -- Titanic {"Old Rose"}
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"How Do I Live" from Con Air -- Music and Lyric by Diane Warren
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1998 (71st)
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Tom Hanks -- Saving Private Ryan {"Captain Miller"}
Ian McKellen -- Gods and Monsters {"James Whale"}
Nick Nolte -- Affliction {"Wade Whitehouse"}
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James Coburn -- Affliction {"Glen Whitehouse"}
Robert Duvall -- A Civil Action {"Jerome Facher"}
Ed Harris -- The Truman Show {"Christof"}
Geoffrey Rush -- Shakespeare in Love {"Philip Henslowe"}
Cate Blanchett -- Elizabeth {"Queen Elizabeth I"}
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Gwyneth Paltrow -- Shakespeare in Love {"Viola De Lesseps"}
Meryl Streep -- One True Thing {"Kate Gulden"}
Emily Watson -- Hilary and Jackie {"Jacqueline du Pré"}
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Judi Dench -- Shakespeare in Love {"Queen Elizabeth I"}
Rachel Griffiths -- Hilary and Jackie {"Hilary du Pré"}
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"I Don't Want To Miss A Thing" from Armageddon -- Music and Lyric by Diane Warren
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To AVID TECHNOLOGY, INC. for the concept, system design and engineering of the Avid Film Composer for motion picture editing. The Avid Film Composer is a digital, non-linear, 24 frame-per-second editing machine usinig compression algorithms, that has revolutionized the art of film editing. Shots can be stored, recalled, manipulated and played back instantaneously, allowing the film editor unprecedented creative freedom and the ability to realize a film more fully than before. [Editorial and Pre-production]
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To DR. THOMAS G. STOCKHAM, JR. and ROBERT B. INGEBRETSEN for their pioneering work in the areas of waveform editing, crossfades and cut-and-paste techniques for digital audio editing. The foundation of current digital audio editing equipment for motion pictures has its roots in the late seventies work of these digital pioneers. [Sound]
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To JAMES A. MOORER for his pioneering work in the design of digital signal processing and its application to audio editing for film. This early work in systems architecture and software has had a significant impact on the digital creation of sound effects and the editing of audio for motion picture sound tracks. [Sound]
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To STEPHEN J. KAY of K-Tec Corporation for the design and development of the Shock Block. This specially designed ground fault interrupter eliminates the electric shock hazard when working in water, wet conditions or from an accidentally exposed power line. [Lighting]
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To GARY TREGASKIS for the primary design; and to DOMINIQUE BOISVERT, PHILIPPE PANZINI and ANDRÉ LEBLANC for the development and implementation of the Flame and Inferno software. The Inferno System, and its predecessor, Flame, provide high-speed, efficient integrated digital compositing and visual effects tools. [Special Photographic]
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To ROBERT PREDOVICH, JOHN SCOTT, MOHAMED KEN T. HUSAIN and CAMERON SHEARER for the design and implementation of the Soundmaster Integrated Operations Nucleus operating environment. The Soundmaster system provides motion picture audio post production facilities with a completely integrated capability for synchronization of audio and picture elements with the numerous methods of synchronization in use today. [Sound]
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To ROY B. FERENCE, STEVEN R. SCHMIDT, RICHARD J. FEDERICO, ROCKWELL YARID and MICHAEL E. MCCRACKAN for the design and development of the Kodak Lightning Laser Recorder. The Kodak Lightning laser recorder system established higher operational and quality standards and achieved wide industry acceptance for digital film recording onto intermediate film stock. [Special Photographic]
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To COLIN MOSSMAN, HANS LEISINGER and GEORGE JOHN ROWLAND of Deluxe Laboratories for the concept and design of the Deluxe High Speed Spray Film Cleaner. This innovative and effective high speed film cleaning machine is unique in its use of spray technology, providing the flexibility to use alternative solvents, and to anticipate changes in environmental legislation. [Laboratory]
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To ARNOLD & RICHTER CINE TECHNIK, and ARRI USA, INC. for the concept and engineering of the Arriflex 435 Camera System. The 435 enhances the creative process via its programmability and reliability, and provides the camera operator with the widest feature and performance capability of any MOS camera in use today. [Camera]
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To ARNOLD & RICHTER CINE TECHNIK and the CARL ZEISS COMPANY for the concept and optical design of the Carl Zeiss/Arriflex Variable Prime Lenses. This series of variable prine lenses opens many creative possibilities, since any focal length can be continuously selected throughout the entire range. They offer sharp, high-contrast, high-resolution images with minimized vignetting, superior to many prime lenses. [Lenses and Filters]
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To DEREK C. LIGHTBODY of OpTex for the design and development of Aurasoft Luminaires. The Aurasoft offers a radical new type of reflector design for the production of soft, very even and relatively shadowless light, with superior coverage and significantly higher intensity than existing softlights. [Lighting]
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To MARK ROBERTS, RONAN CARROLL, ASSAFF RAWNER, PAUL BARTLETT and SIMON WAKLEY for the creation of the Milo Motion-Control Crane. This radically original and effective solution to the problems of high-speed camera motion was achieved with the combination of novel geometry and dedicated 3-dimensional control software. [Camera Cranes]
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To MICHAEL SORENSEN and RICHARD ALEXANDER of Sorensen Designs International, and DONALD TRUMBULL for advancing the state-of-the-art of real-time motion-control, as exemplified in the Gazelle and Zebra camera dolly systems. Over the past decade, Sorensen, Alexander and Trumbull have improved the speed, repeatability and portability of robotic camera platforms through novel engineering concepts and the pioneering use of composite materials. [Camera Cranes]
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To RONALD E. UHLIG, THOMAS F. POWERS and FRED M. FUSS of the Eastman Kodak Company for the design and development of KeyKode latent-image barcode key numbers. KeyKode numbers are machine-readable bar codes on camera negative films that exactly replicate the human-readable key numbers. Together with an appropriate reader and database software, they reduce errors and speed important post-production operations, leading to significant cost savings. [Laboratory]
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To IAIN NEIL for the optical design; TAKUO MIYAGISHIMA for the mechanical design; and PANAVISION, INCORPORATED, for the concept and development of the Primo Series of spherical prime lenses for 35mm cinematography. The Primo Series of lenses for 35mm cinematography represents a thorough and comprehensive approach to prime lens design, development and manufacture. This family of lenses has a wide range of focal lengths, all color matched, with improved modulation transfer function characteristics. [Lenses and Filters]
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To GARRETT BROWN and JERRY HOLWAY for the creation of the Skyman flying platform for Steadicam operators. This cable-driven, manned camera platform allows the operator to spin 360 degrees for unimpeded pans while controlling the downhill speed via brakes. As a device for achieving otherwise impossible shots, Skyman has had a definite influence on later cable-suspended camera systems. [Camera Cranes]
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To JAMES RODNUNSKY, JAMES WEBBER and BOB WEBBER of Cablecam Systems, and TROU BAYLISS for the design and engineering of Cablecam. This radio-controlled, cable-driven camera platform with its ultra-smooth synthetic cables and powerful hydraulic motors, enables runs in excess of 3000 feet with quick return to start. Operating unmanned, it can function at speeds and through perils that would be unsafe for on-board operators. [Camera Cranes]
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To DAVID DIFRANCESCO, BALA S. MANIAN and THOMAS L. NOGGLE for their pioneering efforts in the development of laser film recording technology. This pioneering laser film recorder, designed and used for motion pictures, demonstrated the potential of this technology for recording digital data onto intermediate film stock. [Special Photographic]
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To MICHAEL MACKENZIE, MIKE BOLLES, UDO PAMPEL and JOSEPH FULMER of Industrial Light & Magic for their pioneering work in motion-controlled, silent camera dollies. This silent, high-speed motion control modification of a Panther dolly makes it possible to film moving camera composite shots of actors while recording live dialogue. [Camera Cranes]
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To BARRY WALTON, BILL SCHULTZ, CHRIS BARKER and DAVID CORNELIUS of Sony Pictures Imageworks for the creation of an advanced motion-controlled, silent camera dolly. This extensive modification to the Panther dolly allows high-speed moves to be silent, smooth and stable. [Camera Cranes]
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To BRUCE WILTON and CARLOS ICINKOFF of Mechanical Concepts for their modular system of motion-control rotators and movers for use in motion-control. These components have become the de facto industry standard for use in precision motion control equipment. [Camera Cranes]
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To REMY SMITH for the software and electronic design and development; and JAMES K. BRANCH and NASIR J. ZAIDI for the design and development of the Spectra Professional IV-A digital exposure meter. The design and execution of the Spectra Professional IV-A meter has resulted in a practical and successful tool for the film production community. [Photography]
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To IVAN KRUGLAK for his commitment to the development of a wireless transmission system for video-assisted images for the motion picture industry. Through years of persistent effort, Mr. Kruglak has commercialized and popularized a technique of great utility for motion picture camera operations. By introducing diversity antennas and a time code insertion accessory, he has optimized camera wireless video-assist components. [Camera]
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To DR. DOUGLAS R. ROBLE for his contribution to tracking technology and for the design and implementation of the TRACK system for camera position calculation and scene reconstruction. The TRACK system is an integrated software tool that uses computer-vision techniques to extract critical 2D and 3D information about a scene and the camera used to film it. [Special Photographic]
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To THADDEUS BEIER for the design and implementation of ras_track, a system for 2D tracking, stabilization, and 3D camera and object tracking. Ras_track allows the user to determine the postiton and location of the camera and objects in a scene by tracking points in a scanned sequence. [Special Photographic]
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To MANFRED N. KLEMME and DONALD E. WETZEL for the design and development of the K-Tek Microphone Boom Pole and accessories for on-set motion picture sound recording. The K-TEK series microphone boom pole provides production recording personnel with a self-lubricated, light-weight, sturdy pole with multiple accessories. [Sound]
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To NICK FOSTER for his software development in the field of water simulation systems. This software technique provides an efficient and flexible method for the creation of flowing streams, oceans, tidal waves and turbulence for motion picture visual effects. [Special Photographic]
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To CARY PHILLIPS for the design and development of the "Caricature" Animation System at Industrial Light & Magic. By integrating existing tools into a powerful interactive system, and adding an expressive multi-target shape interpolation-based freeform animation system, the "Caricature" system provides a degree of subtlety and refinement not possible with other systems. [Special Photographic]
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To DR. MITCHELL J. BOGDANOWICZ of the Eastman Kodak Company, and JIM MEYER and STAN MILLER of Rosco Laboratories, Inc. for the design of the CalColor Calibrated Color Effects Filters. Designed to correspond to the spectral sensitivity of color negative film stocks, these filters provide for improved color control in motion picture lighting. [Lenses and Filters]
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To DR. A. TULSI RAM, RICHARD C. SEHLIN, DR. CARL F. HOLTZ and DAVID F. KOPPERL of the Eastman Kodak Company for the research and development of the concept of molecular sieves applied to improve the archival properties of processed photographic film. The use of zeolite crystals as molecular sieves to absorb moisture, acetic acid, methylene chloride and a variety of solvents created an effective deterrent to the effects of vinegar syndrome in stored film stock. [Laboratory]
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To TAKUO MIYAGISHIMA and ALBERT K. SAIKI of Panavision, Inc. for the design and development of the Eyepiece Leveler. This leveler keeps the camera eyepiece at the same level, regardless of whether the camera position is tilted up or down, enabling the camera operator to concentrate on the composition of the image. [Camera]
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To EDMUND M. DI GIULIO and JAMES BARTELL of Cinema Products for the design of the KeyKode Sync Reader. The KeyKode Sync Reader provides a fast, accurate and user-friendly means of utilizing the KeyKode information on film, thereby expediting the editorial and post-production processes. [Laboratory]
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To IVAN KRUGLAK for his pioneering concept and the development of the Coherent Time Code Slate. Time code slates have had significant impact on the filmmaking process by simplifying post-production. This development makes the synchronization process faster and more precise, particularly when multiple cameras are used. [Editorial and Pre-production]
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To MIKE DENECKE for refining and further developing electronic time code slates. Due to their features and simplified operational procedures, the Denecke slates have had significant impact on the motion picture industry and have become the standard for electronic time code slates. [Editorial and Pre-production]
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To ED ZWANEVELD and FREDERICK GASOI of the National Film Board of Canada, and MIKE LAZARIDIS and DALE BRUBACHER-CRESSMAN of Research in Motion for the design and development of the DigiSync Film KeyKode Reader. The DigiSync Film KeyKode Reader provides a fast, accurate and user-friendly means of utilizing the KeyKode information on film, expediting the editorial and post-production processes. [Laboratory]
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1999 (72nd)
Russell Crowe -- The Insider {"Jeffrey Wigand"}
Richard Farnsworth -- The Straight Story {"Alvin Straight"}
Sean Penn -- Sweet and Lowdown {"Emmet Ray"}
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Kevin Spacey -- American Beauty {"Lester Burnham"}
Denzel Washington -- The Hurricane {"Rubin 'Hurricane' Carter"}
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Michael Caine -- The Cider House Rules {"Dr. Wilbur Larch"}
Tom Cruise -- Magnolia {"Frank T.J. Mackey"}
Jude Law -- The Talented Mr. Ripley {"Dickie Greenleaf"}
Annette Bening -- American Beauty {"Carolyn Burnham"}
Janet McTeer -- Tumbleweeds {"Mary Jo Walker"}
Meryl Streep -- Music of the Heart {"Roberta Guaspari"}
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Hilary Swank -- Boys Don't Cry {"Brandon Teena/Teena Brandon"}
Toni Collette -- The Sixth Sense {"Lynn Sear"}
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Chloë Sevigny -- Boys Don't Cry {"Lana Tisdel"}
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"When She Loved Me" from Toy Story 2 -- Music and Lyric by Randy Newman
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"You'll Be In My Heart" from Tarzan -- Music and Lyric by Phil Collins
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To NICK PHILLIPS for the design and development of the three-axis Libra III remote control camera head. The Libra III head can accept a range of film cameras and their lenses and allows the operator to add stabilization to each axis for medium focal length lenses. Motion capture and playback are also selectable features. [Stage Operations]
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To FRITZ GABRIEL BAUER for the concept, design and engineering of the Moviecam Superlight 35mm Motion Picture Camera. The quiet Moviecam Superlight is an extremely small and light 35mm professional motion picture sound camera which allows the cinematographer to film in ways and situations that were never before possible. [Camera]
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To IAIN NEIL for the optical design, RICK GELBARD for the mechanical design, and PANAVISION, INC. for the development of the Millennium Camera System viewfinder. This unique and versatile viewfinder with two independent viewing positions provides a very high-resolution video assist image, greatly enhancing its application for on-set compositing or non-linear editing. [Camera]
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To HUW GWILYM, KARL LYNCH and MARK V. CRABTREE for the design and development of the AMS Neve Logic Digital Film Console for motion picture sound mixing. This console allows the user multi-position mixing capabilities, stem routing predub inputs and other filmcentric attributes. This is the first fully digital audio mixing console specifically designed for post-production film mixing. [Sound]
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To JAMES MOULTRIE for the mechanical design, and to MIKE SALTER and MARK CRAIG GERCHMAN for the optical design of the Cooke S4 Range of Fixed Focal Length Lenses for 35mm motion picture photography. These state-of-the-art fixed focal length 35mm lenses are the result of intense efforts to meet industry requirements in several areas. Providing superior performance in several cinematographic aspects, these lenses include a unique linear focus system. [Lenses and Filters]
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To MARLOWE A. PICHEL for development of the process for manufacturing Electro-formed Metal Reflectors which, when combined with the DC Short Arc Xenon Lamp, became the worldwide standard for motion picture projection systems. The impact of the Electro-formed Metal Reflector over the decades has completely changed the presentation side of the motion picture industry allowing the replacement of the carbon arc light source and the implementation of automated projection systems. [Projection]
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To L. RON SCHMIDT for the concept, design and engineering of the Linear Loop Film Projectors. These radically new motion picture film projectors provide superior print handling, image steadiness, screen illumination and enhanced viewer experience by means of an extremely simple air-driven mechanical transport system. [Projection]
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To NAT TIFFEN of Tiffen Manufacturing Corporation for the production of high-quality, durable, laminated color filters for motion picture photography. Materials of uniform color characteristics are implanted between layers of optical glass and bonded together under extremes of heat and pressure. The outer surfaces are ground and polished to specified close tolerances, free of distortion and resistant to changes in temperature or humidity, then bound with a protective metal ring. [Lenses and Filters]
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To VIVIENNE DYER and CHRIS WOOLF for the design and development of the Rycote Microphone Windshield Modular System. Designed to eliminate physical acoustical rumble and to mask a microphone's high sensitivity to wind and other unwanted noises, the lightweight and rugged Rycote Microphone Windshields accomplish these tasks without altering or impairing the original frequency response of the microphone. [Sound]
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To LESLIE DREVER for the design and development of the Light Wave microphone windscreens and isolation mounts from Light Wave Systems. Designed to eliminate physical acoustical rumble and to cover a microphone's high sensitivity to wind and other unwanted noises, the Light Wave Systems line of shock mounts and windscreens accomplish these tasks without altering or impairing the original frequency response of the microphone. [Sound]
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To RICHARD C. SEHLIN for the concept, and DR. MITCHELL J. BOGDANOWICZ and MARY L. SCHMOEGER of the Eastman Kodak Company for the design and development of the Eastman Lamphouse Modification Filters. The ELM Filters enable a laboratory to achieve additive printer contrast and color reproduction using a subtractive lamphouse. [Lenses and Filters]
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To HOYT H. YEATMAN, JR. of Dream Quest Images and JOHN C. BREWER of the Eastman Kodak Company for the identification and diagnosis leading to the elimination of the "red fringe" artifact in traveling matte composite photography. The elimination of the "red fringe" artifact in traveling matte composite photography obviates expensive additional computerized image processing thus reducing the time involved in producing a seamless and convincing composite shot. [Laboratory]
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2000 (73rd)
Javier Bardem -- Before Night Falls {"Reinaldo Arenas"}
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Russell Crowe -- Gladiator {"Maximus Decimus Meridius"}
Tom Hanks -- Cast Away {"Chuck Noland"}
Ed Harris -- Pollock {"Jackson Pollock"}
Geoffrey Rush -- Quills {"The Marquis de Sade"}
Jeff Bridges -- The Contender {"President Jackson Evans"}
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Benicio Del Toro -- Traffic {"Javier Rodriguez"}
Joaquin Phoenix -- Gladiator {"Commodus"}
Joan Allen -- The Contender {"Laine Hanson"}
Juliette Binoche -- Chocolat {"Vianne Rocher"}
Ellen Burstyn -- Requiem for a Dream {"Sara Goldfarb"}
Laura Linney -- You Can Count on Me {"Samantha 'Sammy' Prescott"}
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Julia Roberts -- Erin Brockovich {"Erin Brockovich"}
Judi Dench -- Chocolat {"Armande Voizin"}
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Marcia Gay Harden -- Pollock {"Lee Krasner"}
Kate Hudson -- Almost Famous {"Penny Lane"}
Frances McDormand -- Almost Famous {"Elaine Miller"}
Julie Walters -- Billy Elliot {"Mrs. Wilkinson"}
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"Things Have Changed" from Wonder Boys -- Music and Lyric by Bob Dylan
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To ROB COOK, LOREN CARPENTER and ED CATMULL for their significant advancements to the field of motion picture rendering as exemplified in Pixar's "Renderman." Their broad professional influence in the industry continues to inspire and contribute to the advancement of computer-generated imagery for motion pictures. [Special Photographic]
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To AL MAYER, SR. and AL MAYER, JR., for the mechanical design, IAIN NEIL for the optical design and BRIAN DANG for the electronic design of the Panavision Millennium XL Camera System. This camera brings the full uncompromised performance of larger heavy-duty cameras to the lightest weight category with ruggedness and advanced features previously expected only in specialized or effects cameras. [Camera]
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To JOE WARY, GERALD PAINTER and COLIN F. MOSSMAN for the design and development of the Deluxe Laboratories Multi Roller Film Transport System. This release print system at Deluxe Laboratories utilizes a revolutionary design allowing for higher print volumes, reduced space requirements for loop racks and elevators, and safer operation. [Laboratory]
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To ALVAH J. MILLER and PAUL JOHNSON of Lynx Robotics for the electronic and software design of the Lynx C-50 Camera Motor System. This camera motor, operated with programmable microprocessors, achieves an unprecedented range of precisely controlled speeds in stand-alone cameras or when synchronized to motion-control systems. [Camera]
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To AKAI DIGITAL for the design and development of the DD8plus digital audio dubber specifically designed for the motion picture industry. [These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming. [Sound]
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To FAIRLIGHT for the design and development of the DAD digital audio dubber specifically designed for the motion picture industry. [These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming. [Sound]
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To ADVANCED DIGITAL SYSTEMS GROUP (ADSG) for the design and development of the Sony DADR 5000 digital audio dubber specifically designed for the motion picture industry. [These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming. [Sound]
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To TIMELINE, INCORPORATED for the design and development of the MMR 8 digital audio dubber specifically designed for the motion picture industry. [These] digital audio dubbers have afforded the post-production community a faster, more cost-effective means of playing back hundreds of digital audio tracks for pre-mixing or final mixing in creating motion picture sound tracks. They also offer individual track slipping in multiple track configurations, random access recall, and both destructive and non-destructive editing capabilities, eliminating the requirements for razor blade conforming. [Sound]
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To LEONARD PINCUS, ASHOT NALBANDYAN, GEORGE JOHNSON, THOMAS KONG and DAVID PRINGLE for the design and development of the SoftSun low pressure xenon long-arc light sources, their power supplies and fixtures. With the ability to dim these very high powered lights at essentially constant Kelvin temperature and without flicker, these units produce a bright and even light source for general set lighting. The availability of very high wattage units allows production to extend the hours of work past the time when the crew would otherwise have "lost the light." [Lighting]
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To VIC ARMSTRONG for the refinement and application to the film industry of the Fan Descender for accurately and safely arresting the descent of stunt persons in high freefalls. Considered a standard of the industry, the Fan Descender provides a means for significantly increasing the safety of very high stunt falls. The system permits falls to be made under controlled deceleration and with a highly predictable stopping point without limitation of camera angles. [Stage Operations]
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To PHILIP GREENSTREET of Rosco Laboratories for the concept and development of the Roscolight Day/Night Backdrop. This unique photographic scenic backing allows a smooth transition from day to night views with a single backing. The Roscolight backings provide an important new creative tool to filmmakers, saving time, money and stage space. [Stage Operations]
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To GLENN M. BERGGREN for the concept, HORST LINGE for research and development, and WOLFGANG REINECKE for the optical design of the ISCO Ultra-Star Plus lenses for motion picture projection. The unique optical design of the Ultra-Star Plus projection lenses achieves unprecedented edge-to-edge uniformity of illumination, combined with a significant increase in screen brightness, thus providing a substantial improvement in the cinema viewing experience. [Lenses and Filters]
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To BILL TONDREAU of Kuper Systems, ALVAH J. MILLER and PAUL JOHNSON of Lynx Robotics, and DAVID STUMP of Visual Effects Rental Services for the conception, design and development of data capture systems that enable superior accuracy, efficiency and economy in the creation of composite imagery. These systems digitally record live action camera and axis data with practically no impact on the live action production process, allowing compositing for visual effects to become faster and more cost-effective. [Systems]
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To VENKAT KRISHNAMURTHY for the creation of the Paraform Software for 3D Digital Form Development. This system streamlines the creation of 3D computer graphics models by allowing artists to convert the data from automatically scanned physical models into a user-specified configuration of patches well suited for use in computer applications. [Special Photographic]
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To GEORGE BORSHUKOV, KIM LIBRERI and DAN PIPONI for the development of a system for image-based rendering allowing choreographed camera movements through computer graphic reconstructed sets. This component of the Manex Visual Effects Virtual Cinematography System provides theatrical-quality virtual settings. [Special Photographic]
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To JOHN P. PYTLAK for the development of the Laboratory Aim Density (LAD) system. The LAD system has become the standard method used by film laboratories and digital film recording facilities for the effecient and uniform control of color and exposure in camera negatives, interpositives and duplicate negatives. [Laboratory]
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To Ioan Allen for the concept, Robin Bransbury for the design and Mark Harrah for the implementation of the Trailer Audio Standards Association (TASA) Loudness Standard. The adoption of the TASA loudness standard has led directly to better sound in the cinema for trailers and features alike.
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2001 (74th)
Sean Penn -- I Am Sam {"Sam Dawson"}
Will Smith -- Ali {"Muhammad Ali"}
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Tom Wilkinson -- In the Bedroom {"Matt Fowler"}
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Jim Broadbent -- Iris {"John Bayley"}
Ben Kingsley -- Sexy Beast {"Don Logan"}
Jon Voight -- Ali {"Howard Cosell"}
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Halle Berry -- Monster's Ball {"Leticia Musgrove"}
Judi Dench -- Iris {"Iris Murdoch"}
Sissy Spacek -- In the Bedroom {"Ruth Fowler"}
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Helen Mirren -- Gosford Park {"Mrs. Wilson"}
Maggie Smith -- Gosford Park {"Constance, Countess of Trentham"}
Marisa Tomei -- In the Bedroom {"Natalie Strout"}
Kate Winslet -- Iris {"Young Iris Murdoch"}
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"If I Didn't Have You" from Monsters, Inc. -- Music and Lyric by Randy Newman
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To JOHN M. EARGLE, D.B. "DON" KEELE and MARK E. ENGEBRETSON for the concept, design and engineering of the modern constant-directivity, direct radiator style motion picture loudspeaker systems. The work of John M. Eargle, D.B. "Don" Keele and Mark E. Engebretson has resulted in the over 20-year dominance of constant-directivity, direct radiator bass style cinema loudspeaker systems. [Sound]
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To IAIN NEIL for the concept and optical design and AL SAIKI for the mechanical design of the Panavision Primo Macro Zoom Lens (PMZ). This compact, wide-angle, macro focus lens enhances and expands the picture-capturing ability, both technically and artistically, of the cinematographer. It is the first cine lens that allows macro photography while still being able to zoom. [Lenses and Filters]
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To FRANZ KRAUS, JOHANNES STEURER and WOLFGANG RIEDEL for the design and development of the ARRILASER Film Recorder. The ARRILASER film recorder demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device while at the same time maintaining outstanding speed, exposure ratings and image quality. [Special Photographic]
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To PETER KURAN for the invention, and SEAN COUGHLIN, JOSEPH A. OLIVIER and WILLIAM CONNER for the engineering and development of the RCI-Color Film Restoration Process. This photo-chemical process restores color to faded color negative using off-the-shelf film stocks with a unique approach. The resulting film intermediate can be used to create a new internegative. [Laboratory]
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To MAKOTO TSUKADA, SHOJI KANEKO and the TECHNICAL STAFF OF IMAGICA CORPORATION, and DAIJIRO FUJIE of Nikon Corporation for the engineering excellence and the impact on the motion picture industry of the Imagica 65/35 Multi-Format Optical Printer. This liquid-gate optical printer offers ease of set-up and change-over to various formats from 35mm to 65mm 15-perf with both additive and subtractive lamp houses. [Special Photographic]
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To STEVEN GERLACH, GREGORY FARRELL and CHRISTIAN LURIN for the design, engineering and implementation of the Kodak Panchromatic Sound Recording Film. Allowing all four soundtrack systems to be exposed on a single negative with relative ease, this stock has allowed single inventory prints, facilitating the more economic distribution of motion pictures. [Sound]
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To PAUL J. CONSTANTINE and PETER M. CONSTANTINE for the design and development of the CELCO Digital Film Recorder products. CELCO recorder products have had a significant impact on the industry through continual improvements in their technology. [Special Photographic]
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To PETE ROMANO for the design and development of the Remote AquaCam, an underwater camera housing system for use in motion pictures. The Remote AquaCam brings to the industry an underwater camera housing specifically designed for remote and high-speed operation. Its hydro-dynamic shape facilitates ease of operation for surface hand-held filming, and its remote capabilities allow it to film in confined areas or in situations where an operator cannot be near the camera. [Photography]
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To JORDAN KLEIN for his pioneering efforts in the development and application of underwater camera housings for motion pictures. With over 50 years of involvement in the design and development of underwater camera housings, Jordan Klein's work has had significant influence in the field of underwater photography. [Photography]
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To BERNARD M. WERNER and WILLIAM GELOW for the engineering and design of filtered line arrays and screen speading compensation as applied to motion picture loudspeaker systems. Employing both tapered line array and filtered line array technologies and unique passive and active filter networks, their work with cinema loudspeakers was both innovative and dedicated specifically to cinema applications. [Sound]
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To TOMLINSON HOLMAN for the research and systems integration resulting in the improvement of motion picture loudspeaker systems. For over 20 years Tomlinson Holman has been involved in the research and integration of the constant-directivity, direct radiator bass type of cinema loudspeaker systems. [Sound]
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To GEOFF JACKSON and ROGER WOODBURN for their DMS 120S Camera Motor. This well-engineered camera motor features built-in time-lapse programmability and is useful in an unusually wide range of applications, including MOS production filming, high-speed photography, animation and motion control. [Camera]
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To THOMAS MAJOR BARRON for the overall concept and design; CHAS SMITH for the structural engineering; and GORDON SEITZ for the mechanical engineering of the Bulldog Motion Control Camera Crane. This motion control camera crane represents an unprecedented combination of long reach, high speed, and a novel approach to its transport, which allows a very rapid setup on location. [Camera Cranes]
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To JOHN R. ANDERSON, JIM HOURIHAN, CARY PHILLIPS and SEBASTIAN MARINO for the development of the ILM Creature Dynamics System. This system makes hair, clothing, skin, flesh and muscle simulation both directable and integrated within a character animation and rigging environment. [Digital Imaging Technology]
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To STEVE SULLIVAN and ERIC R.L. SCHAFER for the development of the ILM Motion and Structure Recovery System (MARS). The MARS system provides analysis of camera motion and object motion, and their dimensions. It employs a rich set of user-interface tools and sophisticated algorithms. [Digital Imaging Technology]
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To CARL LUDWIG and JOHN M. CONSTANTINE, JR. for their contributions to CELCO Digital Film Recorder products. CELCO recorder products have had a significant impact on the industry through continual improvements in their technology. [Special Photographic]
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To BILL SPITZAK, PAUL VAN CAMP, JONATHAN EGSTAD and PRICE PETHEL for their pioneering effort on the NUKE-2D Compositing Software. The Nuke-2D compositing software allows for the creation of complex interactive digital composites using relatively modest computing hardware. [Digital Imaging Technology]
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To DR. LANCE J. WILLIAMS for his pioneering influence in the field of computer-generated animation and effects for motion pictures. The ongoing influence of Lance Williams is exemplified in his three seminal papers "Casting Shadows on Curved Surfaces," "Pyramidal Parametrics" and "View Interpolation for Image Synthesis." [Digital Imaging Technology]
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To DR. UWE SASSENBERG and ROLF SCHNEIDER for the development of "3D Equalizer," an advanced and robust camera and object match-moving system. This dominant commercial tracking system provides "survey-free" tracking, which significantly reduces the need for painstaking, error-prone measurements on sets. [Digital Imaging Technology]
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To DR. GARLAND STERN for the concept and implementation of the Cel Paint Software System. All current cel painting applications in the motion picture industry can be traced back to the original idea and pioneering implementation of Garland Stern. [Digital Imaging Technology]
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To MIC RODGERS and MATT SWEENEY for the concept, design and realization of the "Mic Rig." This self-contained, low bed picture car carrier and camera platform enables the safe, economic and realistic filming of action sequences that may involve principal actors and dialogue. [Stage Operations]
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To Rune Ericson for his pioneering development and 30 years of dedication to the Super 16mm format for motion pictures. The Super 16mm film format has achieved a significant impact on the worldwide film industry by playing a major role in empowering low budget films to be produced for theatrical release.
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To the American Society of Cinematographers (ASC) for the continued publication of the "American Cinematographer Manual." Born from "The Cinematographic Annual," first published by the ASC in 1930, the "American Cinematographer Manual" has become an essential bible for cinematographers. Currently in its eighth edition, this premier reference manual has had a significant impact on decades of motion picture photography around the world.
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2002 (75th)
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Adrien Brody -- The Pianist {"Wladyslaw Szpilman"}
Nicolas Cage -- Adaptation {"Charlie Kaufman & Donald Kaufman"}
Michael Caine -- The Quiet American {"Thomas Fowler"}
Daniel Day-Lewis -- Gangs of New York {"Bill 'The Butcher' Cutting"}
Jack Nicholson -- About Schmidt {"Warren Schmidt"}
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Chris Cooper -- Adaptation {"John Laroche"}
Ed Harris -- The Hours {"Richard Brown"}
Paul Newman -- Road to Perdition {"John Rooney"}
John C. Reilly -- Chicago {"Amos Hart"}
Salma Hayek -- Frida {"Frida Kahlo"}
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Nicole Kidman -- The Hours {"Virginia Woolf"}
Diane Lane -- Unfaithful {"Connie Sumner"}
Julianne Moore -- Far from Heaven {"Cathy Whitaker"}
Renée Zellweger -- Chicago {"Roxie Hart"}
Kathy Bates -- About Schmidt {"Roberta Hertzel"}
Julianne Moore -- The Hours {"Laura Brown"}
Queen Latifah -- Chicago {"Matron Mama Morton"}
Meryl Streep -- Adaptation {"Susan Orlean"}
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Catherine Zeta-Jones -- Chicago {"Velma Kelly"}
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To ALIAS/WAVEFRONT for the development of a 3D animation, dynamics, modeling and rendering production tool known as Maya. With its significant and dominant impact on the motion picture industry, the Maya software package offers a robust and widely used commercial visual effects tool with a rich infrastructure for extension and customization. [Digital Imaging Technology]
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To ARNOLD & RICHTER CINE TECHNIK and PANAVISION INC., for their continuing development and innovation in the design and manufacturing of advanced camera systems specifically designed for the motion picture entertainment industry. With a commitment that lies beyond the usual commercial considerations, these two manufacturers continue to lead the industry in developing and introducing products that have defined the state of the art in motion picture camera technology. [Camera]
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To GLENN SANDERS and HOWARD STARK of Zaxcom for the concept, design and engineering of the portable Deva Digital Audio Disk Recorder. This innovative design employs advanced hard disk recording technology and digital audio techniques for use in both production and post-production recording applications. [Sound]
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To MARK ELENDT, PAUL H. BRESLIN, GREG HERMANOVIC and KIM DAVIDSON for their continued development of the procedural modeling and animation components of their Prisms program, as exemplified in the Houdini software package. Through a procedural building-block process, the Houdini software is used to simulate natural phenomena using particle effects and complex three-dimensional models. [Digital Imaging Technology]
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To DR. LESLIE GUTIERREZ, DIANE E. KESTNER, JAMES MERRILL and DAVID NIKLEWICZ for the design and development of the Kodak Vision Premier Color Print Film, 2393. This film stock provides filmmakers with enhanced color saturation, higher contrast and darker blacks, producing a bold, colorful 'look' on the theater screen. [Film]
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To DEDO WEIGERT for the concept, DR. DEPU JIN for the optical calculations, and FRANZ PETTERS for the mechanical construction of the Dedolight 400D. This uniquely designed set light provides superior performance, reliability and ease of use. Combined with its excellent array of accessories, the Dedolight 400D is an outstanding engineering achievement. [Lighting]
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To DICK WALSH for the development of the PDI/DreamWorks Facial Animation System. This effective software simulation system is used to create and control natural, expressive, highly-nuanced facial animation on a wide range of computer-generated characters. [Digital Imaging Technology]
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To THOMAS DRIEMEYER and to the TEAM OF MATHEMATICIANS, PHYSICISTS AND SOFTWARE ENGINEERS OF MENTAL IMAGES for their contributions to the Mental Ray rendering software for motion pictures. Mental Ray is a highly programmable computer-graphics renderer incorporating ray tracing and global illumination to realistically simulate the behavior of light in computer-generated imagery. [Digital Imaging Technology]
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To ERIC DANIELS, GEORGE KATANICS, TASSO LAPPAS and CHRIS SPRINGFIELD for the development of the Deep Canvas rendering software. The Deep Canvas software program captures the orginal brush strokes of the traditional background artist to render elements in three dimensions for animated films. [Digital Imaging Technology]
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To JIM SONGER for his contributions to the technical development of video-assist in the motion picture industry. The work of Jim Songer from 1968 through 1973 led directly to the more widespread acceptance of video-assist in the motion picture industry. [Systems]
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To PIERRE CHABERT of Airstar for the introduction of balloons with internal light sources to provide set lighting for the motion picture industry. These helium-filled balloons with internal arrangements for tungsten halogen and HMI light sources, are usable indoors or out, quick to set up, require essentially no rigging and provide a soft light that can cover a very large area. [Lighting]
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To RAWDON HAYNE and ROBERT W. JEFFS of Leelium Tubelites for their contributions to the development of internally lit balloons for motion picture lighting. These helium-filled balloons with internal arrangements for tungsten halogen and HMI light sources, are usable indoors or out, quick to set up, require essentially no rigging and provide a soft light that can cover a very large area. [Lighting]
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2003 (76th)
Jude Law -- Cold Mountain {"Inman"}
Bill Murray -- Lost in Translation {"Bob Harris"}
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Sean Penn -- Mystic River {"Jimmy Markum"}
Alec Baldwin -- The Cooler {"Shelly Kaplow"}
Benicio Del Toro -- 21 Grams {"Jack Jordan"}
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Tim Robbins -- Mystic River {"Dave Boyle"}
Ken Watanabe -- The Last Samurai {"Katsumoto"}
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Charlize Theron -- Monster {"Aileen Wuornos"}
Naomi Watts -- 21 Grams {"Cristina Peck"}
Marcia Gay Harden -- Mystic River {"Celeste Boyle"}
Holly Hunter -- Thirteen {"Melanie"}
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Renée Zellweger -- Cold Mountain {"Ruby Thewes"}
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"A Kiss At The End Of The Rainbow" from A Mighty Wind -- Music and Lyric by Michael McKean and Annette O'Toole
"You Will Be My Ain True Love" from Cold Mountain -- Music and Lyric by Sting
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To DIGIDESIGN for the design, development and implementation of the Pro Tools® digital audio workstation. The efficient algorithms, extensible architecture and intuitive interface have enabled Pro Tools to become the worldwide standard for the creation and editing of motion picture soundtracks. [Sound]
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To BILL TONDREAU of Kuper Controls for his significant advancements in the field of motion control technology for motion picture visual effects. Measuring his valuable contributions to the invention and implementation of robotic camera systems in decades rather than years, his efforts have aided motion control in becoming a core technology that has supported the renaissance of visual effects. [Systems]
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To KINOTON GmbH for the engineering and development of the Kinoton FP 30/38 EC II Studio Projector. This high-speed studio projector produces an image quality equal to projectors with Geneva movements. With its unparalleled shuttle speed, reversibility and acceleration, this projector has set a new standard for post-production viewing as well as in traditional screening facilities. [Projection]
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To KENNETH L. TINGLER, CHARLES C. ANDERSON, DIANE E. KESTNER and BRIAN A. SCHELL of the Eastman Kodak Company for the successful development of a process-surviving antistatic layer technology for motion picture film. This technology successfully controls the static charge buildup on processed intermediate and sound negative films during high speed printing operations. [Laboratory]
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To CHRISTOPHER ALFRED, ANDREW J. CANNON, MICHAEL C. CARLOS, MARK CRABTREE, CHUCK GRINDSTAFF and JOHN MELANSON for their significant contributions to the evolution of digital audio editing for motion picture post production. Through their respective pioneering efforts with AMS AudioFile, Waveframe and Fairlight, the work of these gentlemen contributed significantly to the development and realization of digital audio workstations with full editing capabilities for motion picture soundtracks. [Digital Imaging Technology]
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To STEPHEN REGELOUS for the design and development of Massive, the autonomous agent animation system used for the battle sequences in "The Lord of the Rings" trilogy. Massive takes a new approach in simulating behaviors of large numbers of computer-generated extras a.k.a. "agents." Each "agent" contains a primitive software "brain" used to develop behavioral rules simulating a wide range of behaviors. In "The Lord of the Rings" trilogy, over 200,000 agents were controlled in several scenes. [Digital Imaging Technology]
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To KISH SADHVANI for the concept and optical design, PAUL DUCLOS for the practical realization and production engineering and CARL PERNICONE for the mechanical design and engineering of the portable cine viewfinder system known as the Ultimate Director's Finder (UDF). This versatile, modular and widely accepted cine viewfinder system is capable of properly displaying images in multiple formats ranging from 35mm anamorphic to super 16. [Photography]
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To HENRIK WANN JENSEN, STEPHEN R. MARSCHNER and PAT HANRAHAN for their pioneering research in simulating subsurface scattering of light in translucent materials as presented in their paper "A Practical Model for Subsurface Light Transport." This mathematical model contributed substantially to the development and implementation of practical techniques for simulating subsurface scattering of light in translucent materials for computer-generated images in motion pictures. [Digital Imaging Technology]
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To CHRISTOPHE HERY, KEN McGAUGH and JOE LETTERI for their groundbreaking implementations of practical methods for rendering skin and other translucent materials using subsurface scattering techniques. These groundbreaking techniques were used to create realistic-looking skin on digitally created characters. [Digital Imaging Technology]
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2004 (77th)
Don Cheadle -- Hotel Rwanda {"Paul Rusesabagina"}
Johnny Depp -- Finding Neverland {"Sir James Matthew Barrie"}
Leonardo DiCaprio -- The Aviator {"Howard Hughes"}
Clint Eastwood -- Million Dollar Baby {"Frankie Dunn"}
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Jamie Foxx -- Ray {"Ray Charles"}
Alan Alda -- The Aviator {"Senator Ralph Owen Brewster"}
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Morgan Freeman -- Million Dollar Baby {"Eddie Scrap-Iron Dupris"}
Clive Owen -- Closer {"Larry"}
Annette Bening -- Being Julia {"Julia Lambert"}
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Hilary Swank -- Million Dollar Baby {"Maggie Fitzgerald"}
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Cate Blanchett -- The Aviator {"Katharine Hepburn"}
Laura Linney -- Kinsey {"Clara McMillen"}
Sophie Okonedo -- Hotel Rwanda {"Tatiana Rusesabagina"}
Natalie Portman -- Closer {"Alice"}
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To HORST BURBULLA for the invention and continuing development of the Technocrane telescoping camera crane. With its electronically driven leveling head, adjustable moveable weight carriage, and lightweight, extremely precise telescoping beam elements that allow camera movement during shots, the Technocrane has redefined the state-of-the-art in camera crane technology. [Camera Cranes]
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To JEAN-MARIE LAVALOU, ALAIN MASSERON and DAVID SAMUELSON for the engineering and development of the Louma Camera Crane and remote system for motion picture production. The Louma pioneered a remotely-operated camera head combined with a lightweight and portable modular crane. Its design has proved to be the inspiration for numerous subsequent remote camera systems. [Camera Cranes]
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To GYULA MESTER (electronic systems design) and KEITH EDWARDS (mechanical engineering) for their significant contributions to and continuing development of the Technocrane telescoping camera crane. With its electronically driven leveling head, adjustable moveable weight carriage, and lightweight, extremely precise telescoping beam elements that allow camera movement during shots, the Technocrane has redefined the state-of-the-art in camera crane technology. [Camera Cranes]
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To LINDSAY ARNOLD, GUY GRIFFITHS, DAVID HODSON, CHARLIE LAWRENCE and DAVID MANN for their development of the Cineon Digital Film Workstation. Cineon pioneered a commercial node-graph compositing system establishing a new visual method for direct manipulation of the compositing process, which influenced and defined modern digital compositing workflows. [Digital Imaging Technology]
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To GREG CANNOM and WESLEY WOFFORD for the development of their special modified silicone material for makeup appliances used in motion pictures. This proprietary modified silicone makeup system allows for the creation of either partial or full-face appliances for motion picture makeup effects that move like real flesh, have translucency similar to skin and will accept standard makeup materials. [Systems]
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To JERRY COTTS for the original concept and design and ANTHONY SEAMAN for the engineering of the Satellight-X HMI Softlight. With its large radiating surface and thin profile, this collapsible, self-contained HMI softlight provides a diffuse light to simulate daylight in location interiors, where space is often limited. [Lighting]
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To STEVEN E. BOZE for the design and implementation of the DNF 001 multi-band digital audio noise suppressor. Designed in the early 1990s when digital signal processing was in its early stages, the real-time digital approach of the DNF 001 provided accurate filter response with minimal interaction, allowing noise attenuation with fewer artifacts. [Sound]
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To DR. CHRISTOPHER HICKS and DAVE BETTS for the design and implementation of the Cedar DNS 1000 multi-band digital noise suppressor. The Cedar DNS 1000 is specifically designed to reduce background noise from recorded motion picture dialog. With its precise filters it allows the frequency ranges to be altered or even cascaded to pinpoint and reduce the offending noise. [Sound]
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To NELSON TYLER for the development of the Tyler Gyroplatform boat mount stabilizing device for motion picture photography. As a pioneer in this area of motion picture technology, Tyler's 2-axis, hydraulically-powered camera mount successfully eliminates the pitch and roll associated with camera shots taken from a boat in the water. [Photography]
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To DR. JULIAN MORRIS, MICHAEL BIRCH, DR. PAUL SMYTH and PAUL TATE for the development of the Vicon motion capture technology. Vicon Motion Systems developed special-purpose cameras for motion capture with software systems that maximized their impact on the motion picture industry. [Digital Imaging Technology]
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To DR. JOHN O.B. GREAVES, NED PHIPPS, ANTONIE J. VAN DEN BOGERT and WILLIAM HAYES for the development of the Motion Analysis motion capture technology. Motion Analysis Corporation developed special-purpose cameras for motion capture with software systems that maximized their impact on the motion picture industry. [Digital Imaging Technology]
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To DR. NELS MADSEN, VAUGHN CATO, MATTHEW MADDEN and BILL LORTON for the development of the Giant Studios motion capture technology. The software solution created by Giant Studios applied a unique biometric approach that has influenced the development of motion capture technology for motion pictures. [Digital Imaging Technology]
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To ALAN KAPLER for the design and development of "Storm," a software toolkit for artistic control of volumetric effects. "Storm" employs an efficient method for directly manipulating volumetric data to create effects such as clouds, water and avalanches with familiar operators inspired by image compositing and painting operations. [Digital Imaging Technology]
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2005 (78th)
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Philip Seymour Hoffman -- Capote {"Truman Capote"}
Heath Ledger -- Brokeback Mountain {"Ennis Del Mar"}
Joaquin Phoenix -- Walk the Line {"John R. Cash"}
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George Clooney -- Syriana {"Bob Barnes"}
Matt Dillon -- Crash {"Officer Ryan"}
Paul Giamatti -- Cinderella Man {"Joe Gould"}
William Hurt -- A History of Violence {"Richie Cusack"}
Judi Dench -- Mrs. Henderson Presents {"Mrs. Laura Henderson"}
Keira Knightley -- Pride & Prejudice {"Elizabeth Bennet"}
Charlize Theron -- North Country {"Josey Aimes"}
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Reese Witherspoon -- Walk the Line {"June Carter"}
Amy Adams -- Junebug {"Ashley"}
Catherine Keener -- Capote {"Nelle Harper Lee"}
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Rachel Weisz -- The Constant Gardener {"Tessa Quayle"}
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To DAVID GROBER for the concept and mechanical design and SCOTT LEWALLEN for the electronic and software design of the Perfect Horizon camera stabilization head. Perfect Horizon effectively neutralizes the extraneous motion encountered in boats, camera cars, snowmobiles or other vehicles, leaving the pan/tilt head and camera stable and level with the horizon. [Photography]
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To ANATOLIY KOKUSH, YURIY POPOVSKY and OLEKSIY ZOLOTAROV for the concept and development of the Russian Arm gyro-stabilized camera crane and the Flight Head. The Russian Arm and Flight Head opened new possibilities for filmmakers. With the ability to be mounted on the roof of almost any car, this remotely-operated crane and camera head can move smoothly in a 360 degree circle around the car, even while it is being driven at high speeds by actors, creating heretofore impossible perspectives. [Camera Cranes]
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To ANATOLIY KOKUSH for the concept and development of the Cascade series of motion picture cranes. The lightweight structure of the Cascade and Traveling Cascade Cranes enables the filmmaker to achieve heights of up to 70 feet, allowing for the placement of the camera in otherwise impossible locations. [Camera Cranes]
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To GARRETT BROWN for the original concept of the Skycam flying camera system -- the first use of 3-D volumetric cable technology for motion picture cinematography. In creating the first remote-controlled, cable-supported flying camera system, Garrett Brown's pioneering efforts have influenced all subsequent development in this area of technology. [Camera Cranes]
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To DAVID BARAFF, MICHAEL KASS and ANDREW WITKIN for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures. Their 1998 paper titled "Large Steps in Cloth Simulation" was a seminal work, providing the key in demonstrating to the industry that the calculations necessary to simulate realistic, complex cloth could be achieved efficiently and robustly. Their work provided the conceptual foundation for many cloth simulation systems in use today. [Digital Imaging Technology]
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To LAURIE FROST, PETER HANNAN and RICHARD LONCRAINE for the development of the remote camera head known as the Hot-Head. In use for over a quarter of a century, the Hot-Head has brought the possibility of safe, remotely-operated shots to every filmmaker. [Photography]
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To GARY THIELTGES for the design and development of the remotely-operated, lightweight camera head known as the Sparrow Head. This well-integrated remote system enables filmmakers to remotely pan and tilt their camera from virtually any moving vehicle, giving the opportunity for unprecedented dynamic camera angles. [Photography]
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To FRANK FLETCHER and DAVE SHERWIN for the introduction and continuing development of the Power Pod modular camera head system. The Power Pod system enables filmmakers to configure a remote controlled head to meet their own unique requirements. [Photography]
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To ALVAH MILLER, MICHAEL SORENSEN and J. WALT ADAMCZYK for the design and development of the Aerohead motion control camera head and the J-Viz Pre-Visualization system. This remote head not only serves the needs of the live-action filmmaker, but also provides the functionality of a motion-controlled head, allowing for sophisticated tiling and pre-visualization techniques. [Photography]
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To SCOTT LEVA for the design and development of the Precision Stunt Airbag for motion picture stunt falls. The Precision Stunt Airbag is designed to envelop the stunt jumper, even on off-center hits. This feature serves to enhance the safety of stunt performers in falls from up to 200 feet. [Stage Operations]
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To LEV YEVSTRATOV, GEORGE PETERS and VASILIY ORLOV for the development of the Ultimate Arm Camera Crane System for specialized vehicle photography. Representing a significant evolutionary improvement in camera car technology, this remotely-controlled, gyro-stabilized and flexible camera crane offers a highly stable platform for high-speed, rough terrain action shots. Its ingenious applications of sophisticated technology solve many of the problems inherent in chase vehicle filming. [Camera Cranes]
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To JAMES RODNUNSKY, ALEX MacDONALD and MARK CHAPMAN for the development of the Cablecam 3-D volumetric suspended cable camera technologies. The evolution of the Cablecam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space. [Camera Cranes]
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To TIM DRNEC, BEN BRITTEN SMITH and MATT DAVIS for the development of the Spydercam 3-D volumetric suspended cable camera technologies. The evolution of the Spydercam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space. [Camera Cranes]
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To JOHN PLATT and DEMETRI TERZOPOULOS for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures. Their 1987 paper "Elastically Deformable Models" was a milestone in computer graphics, introducing the concept of physically-based techniques to simulate moving, deforming objects. [Digital Imaging Technology]
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To ED CATMULL, for the original concept, and TONY DeROSE and JOS STAM for their scientific and practical implementation of subdivision surfaces as a modeling technique in motion picture production. Subdivision surfaces have become a preferred modeling primitive for many types of motion picture computer graphics. [Digital Imaging Technology]
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To HAROLD RATTRAY, TERRY CLABORN, STEVE GARLICK, BILL HOGUE and TIM REYNOLDS for the design, engineering and implementation of the Technicolor Real Time Answer Print System. This system provides a method by which filmmakers can preview real-time color corrections using actual film prints, reducing both the turnaround time and the number of reprints required. [Laboratory]
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To UDO SCHAUSS and HILDEGARD EBBESMEIER for the optical design and NICOLE WEMKEN and MICHAEL ANDERER for the mechanical design of the Cinelux Premiere Cinema Projection Lenses. The Cinelux Premiere Lenses incorporate an iris and aspheric elements which provide a more uniform modulation transfer function and better light transmission to the sides and corners of the theater projection screen. This reduces the traditional problems of softness in the corners, hot-spotting and varying brightness between film formats. [Projection]
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2006 (79th)
Leonardo DiCaprio -- Blood Diamond {"Danny Archer"}
Ryan Gosling -- Half Nelson {"Dan Dunne"}
Peter O'Toole -- Venus {"Maurice"}
Will Smith -- The Pursuit of Happyness {"Chris Gardner"}
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Jackie Earle Haley -- Little Children {"Ronnie J. McGorvey"}
Djimon Hounsou -- Blood Diamond {"Solomon Vandy"}
Eddie Murphy -- Dreamgirls {"James 'Thunder' Early"}
Penélope Cruz -- Volver {"Raimunda"}
Judi Dench -- Notes on a Scandal {"Barbara Covett"}
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Helen Mirren -- The Queen {"The Queen"}
Meryl Streep -- The Devil Wears Prada {"Miranda Priestly"}
Kate Winslet -- Little Children {"Sarah Pierce"}
Adriana Barraza -- Babel {"Amelia"}
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Jennifer Hudson -- Dreamgirls {"Effie White"}
Rinko Kikuchi -- Babel {"Chieko"}
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To PHILLIP J. FEINER, JIM HOUSTON, DENIS LECONTE and CHRIS BUSHMAN of Pacific Title and Art Studio for the design and development of the Rosetta process for creating digital YCM archival masters for digital film restoration. With elements that may be recombined either digitally or optically, the Rosetta Separations process offers a uniquely great versatility in achieving high-quality results for digital YCM archiving. [Laboratory]
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To STEVE SULLIVAN, COLIN DAVIDSON, MAX CHEN and FRANCESCO CALLARI for the design and development of the ILM Image-based Modeling System. This highly integrated system facilitates interactive construction and editing of 3D models from digital photographs and addresses the three-dimensional scanning needs of motion pictures in unique and innovative ways. [Digital Imaging Technology]
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To DR. BILL COLLIS, SIMON ROBINSON, BEN KENT and DR. ANIL KOKARAM for the design and development of the Furnace integrated suite of software tools that robustly utilizes temporal coherence for enhancing visual effects in motion picture sequences. The Furnace toolset's modularity, flexibility and robustness has set a high standard of quality for optical flow-based image manipulation. [Digital Imaging Technology]
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To HOWARD PRESTON and MIRKO KOVACEVIC for the design and engineering of the Preston Cinema Systems FI+Z wireless remote system. Pioneering unprecedented reliability and flexibility in wireless lens and camera operation, the FI+Z has continued to be a leader in innovation since its introduction in 1994. [Photography]
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To JOSHUA PINES and CHRIS KUTCKA of Technicolor Digital Intermediates for the design and development of the TDI process for creating archival separations from digital image data. The TDI process is based on the production of digital separation negatives creating archival elements that can be scanned and digitally recombined in the future. [Laboratory]
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To WILLIAM FEIGHTNER and CHRIS EDWARDS of E-Film for the design and development of the E-Film process for creating archival separations from digital image data. The E-Film process is based on the production of digital separation negatives creating archival elements that can be scanned and digitally recombined in the future. [Laboratory]
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To ALBERT RIDILLA, PAPKEN SHAHBAZIAN, RONALD BELKNAP and JAY McGARRIGLE for the design and development of the Hollywood Film Company Brumagic MPST Densitometer. The Brumagic MPST was designed specifically to measure density in the motion picture soundtrack and has become the densitometer of choice for reading soundtrack negative and positive densities worldwide. [Sound]
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To KLEMENS KEHRER, JOSEF HANDLER, THOMAS SMIDEK and MARC SHIPMAN MUELLER for the design and development of the Arriflex 235 Camera System. Designed for handheld photography, the features of this small, lightweight MOS camera also allow it to be used as a secondary production camera. [Camera]
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To FLORIAN KAINZ for the design and engineering of OpenEXR, a software package implementing 16-bit, floating point, high dynamic range image files. Widely adopted, OpenEXR is engineered to meet the requirements of the visual effects industry by providing for lossless and lossy compression of tiered and tiled images. [Digital Imaging Technology]
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To WALTER TRAUNINGER and ERNST TSCHIDA for the design and engineering of the Arri WRC wireless remote lens control system. This highly modular system permits accurate and reliable wireless control with multiple hand controls of all lens functions. [Photography]
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To CHRISTIAN TSCHIDA and MARTIN WAITZ of cmotion for the design and engineering of the cmotion Wireless Remote System. The graphical user interface of the cmotion System eases the difficult task of following focus, and the unique lens tag system recalls the calibration for each lens. [Photography]
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To PETER LITWINOWICZ and PIERRE JASMIN for the design and development of the RE:Vision Effects family of software tools for optical flow-based image manipulation. A unique user interface and relatively low cost have made these tools ubiquitous in the visual effects community. [Digital Imaging Technology]
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2007 (80th)
George Clooney -- Michael Clayton {"Michael Clayton"}
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Daniel Day-Lewis -- There Will Be Blood {"Daniel Plainview"}
Tommy Lee Jones -- In the Valley of Elah {"Hank Deerfield"}
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Hal Holbrook -- Into the Wild {"Ron Franz"}
Tom Wilkinson -- Michael Clayton {"Arthur Edens"}
Cate Blanchett -- Elizabeth: The Golden Age {"Queen Elizabeth I"}
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Marion Cotillard -- La Vie en Rose {"Edith Piaf"}
Laura Linney -- The Savages {"Wendy Savage"}
Ellen Page -- Juno {"Juno MacGuff"}
Ruby Dee -- American Gangster {"Mama Lucas"}
Saoirse Ronan -- Atonement {"Briony Tallis, aged 13"}
Amy Ryan -- Gone Baby Gone {"Helene McCready"}
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Tilda Swinton -- Michael Clayton {"Karen Crowder"}
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To the EASTMAN KODAK COMPANY for the development of photographic emulsion technologies incorporated into the Kodak Vision2 family of color negative films. These new technologies are breakthroughs in film speed, grain and sharpness that have made a significant impact on the motion picture industry. The Vision2 family allows wider use of high-speed color negative film, lower light levels on set and faster set-ups. Most importantly, Vision2 improves the overall picture quality in theatrical presentation. [Laboratory]
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To DR. DOUG ROBLE, NAFEES BIN ZAFAR and RYO SAKAGUCHI for the development of the fluid simulation system at Digital Domain. This influential and flexible production-proven system incorporates innovative algorithms and refined adaptations of published methods to achieve large-scale water effects. [Digital Imaging Technology]
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To NICK RASMUSSEN, RON FEDKIW and FRANK LOSASSO PETTERSON for the development of the Industrial Light & Magic fluid simulation system. This production-proven simulation system achieves large-scale water effects within ILM's Zeno framework. It includes integrating particle level sets, parallel computation, and tools that enable the artistic direction of the results. [Digital Imaging Technology]
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To CHRISTIEN TINSLEY for the creation of the transfer techniques for creating and applying 2D and 3D makeup known as "Tinsley Transfers." These techniques allow quick and precisely repeatable application of 2D makeup such as tattoos, bruises and birthmarks, as well as 3D prosthetic appliances ranging in size from small wounds to entire torsos. They utilize self-adhesive material that features an unprecedented combination of tissue-thin edges, resilience, flexibility and water resistance, while requiring no dangerous solvents. [Systems]
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To JÖRG PÖHLER and RÜDIGER KLEINKE of OTTEC Technology GmbH for the design and development of the battery-operated series of fog machines known as "Tiny Foggers." The operating characteristics of this compact, well-engineered and remote-controllable package make possible a range of safe special effects that would be totally impractical with larger, more conventional fog units. [Stage Operations]
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To SEBASTIAN CRAMER for the invention and general design, and ANDREAS DASSER, head of development at P&S Technik GmbH, for the mechanical design, of the Skater Dolly and its family of products. This small, portable, camera-only dolly allows low lens positions, movement in restricted places and tight offset circular maneuvers with rapid set-up. [Camera Cranes]
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To VICTOR GONZALEZ, IGNACIO VARGAS and ANGEL TENA for the creation of the RealFlow software application. RealFlow was the first widely adopted, commercially available, easy-to-use system for the simulation of realistic liquids in motion picture visual effects. [Digital Imaging Technology]
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To JONATHAN M. COHEN, DR. JERRY TESSENDORF, DR. JEROEN MOLEMAKER and MICHAEL KOWALSKI for the development of the system of fluid dynamics tools at Rhythm & Hues. This system allows artists to create realistic animation of liquids and gases using novel simulation techniques for accuracy and speed, as well as a unique scripting language for working with volumetric data. [Digital Imaging Technology]
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To DUNCAN BRINSMEAD, JOS STAM, JULIA PAKALNS and MARTIN WERNER for the design and implementation of the Maya Fluid Effects system. This system is used to create simulations of gaseous phenomena integrated into the widely available Maya tool suite, using an unconditionally stable semi-Lagrangian solver. [Digital Imaging Technology]
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To STEPHAN TROJANSKY, THOMAS GANSHORN and OLIVER PILARSKI for the development of the Flowline fluid effects system. Flowline is a flexible system that incorporates highly parallel computation, allowing rapid iteration and resulting in detailed, realistic fluid effects. [Digital Imaging Technology]
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To Jonathan Erland in recognition of his leadership and efforts toward identifying and solving the problem of High-Speed Emulsion Stress Syndrome in motion picture film stock. By coordinating and conducting tests for and with the industry, and by sharing results openly, Mr. Erland clearly demonstrated the value and effectiveness of independent research and industry-wide cooperation.
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2008 (81st)
Frank Langella -- Frost/Nixon {"Richard Nixon"}
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Sean Penn -- Milk {"Harvey Milk"}
Josh Brolin -- Milk {"Dan White"}
Robert Downey Jr. -- Tropic Thunder {"Kirk Lazarus"}
Philip Seymour Hoffman -- Doubt {"Father Brendan Flynn"}
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Michael Shannon -- Revolutionary Road {"John Givings"}
Angelina Jolie -- Changeling {"Christine Collins"}
Melissa Leo -- Frozen River {"Ray Eddy"}
Meryl Streep -- Doubt {"Sister Aloysius Beauvier"}
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Kate Winslet -- The Reader {"Hanna Schmitz"}
Amy Adams -- Doubt {"Sister James"}
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Viola Davis -- Doubt {"Mrs. Miller"}
Marisa Tomei -- The Wrestler {"Cassidy"}
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To ERWIN MELZNER for the overall concept including the optical and cooling systems, VOLKER SCHUMACHER for the optical design, and TIMO MÜLLER for the mechanical design, of the Arrimax 18/12 lighting fixture for use in motion picture production. With its choice of vari-focus and specular reflectors, the superior optical and mechanical design of this lighting fixture allows it to operate at 18,000 watts, producing unsurpassed light quality while its innovative cooling system keeps the housing safe to touch. [Lighting]
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To JACQUES DELACOUX for the concept and electronic design, and ALEXANDRE LEUCHTER for the software and electronic design, of the Transvideo video-assist monitors for the motion picture industry. Using color LCD screens, the Transvideo monitors provide flicker-free video assist bright enough for use in sunlight and have become a ubiquitous tool in both spherical and anamorphic cinematography. [Systems]
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To BRUNO COUMERT and JACQUES DEBIZE for the optical design, and DOMINIQUE CHERVIN and CHRISTOPHE REBOULET for the mechanical design, of the compact and lightweight Angenieux 15-40 and 28-76 zoom lenses for handheld motion picture photography. With focus and zoom functions that can be easily controlled by either the operator or focus puller while filming handheld, these lightweight zoom lenses demonstrate a very high degree of engineering, supporting both ease of use and quick interchange. [Lenses and Filters]
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To STEVE HYLÉN for the concept and his continued leadership in the further development of the Hylén Lens System for motion picture effects photography. When attached to a film or digital production camera, this versatile aerial image device can produce a wide variety of optical effects interactively, on set and in real time without post-production image manipulation. [Lenses and Filters]
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2009 (82nd)
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Jeff Bridges -- Crazy Heart {"Bad Blake"}
George Clooney -- Up in the Air {"Ryan Bingham"}
Colin Firth -- A Single Man {"George"}
Morgan Freeman -- Invictus {"Nelson Mandela"}
Jeremy Renner -- The Hurt Locker {"Staff Sergeant William James"}
Matt Damon -- Invictus {"Francois Pienaar"}
Woody Harrelson -- The Messenger {"Captain Tony Stone"}
Stanley Tucci -- The Lovely Bones {"George Harvey"}
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Christoph Waltz -- Inglourious Basterds {"Col. Hans Landa"}
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Sandra Bullock -- The Blind Side {"Leigh Anne Tuohy"}
Meryl Streep -- Julie & Julia {"Julia Child"}
Penélope Cruz -- Nine {"Carla"}
Vera Farmiga -- Up in the Air {"Alex Goran"}
Maggie Gyllenhaal -- Crazy Heart {"Jean Craddock"}
Anna Kendrick -- Up in the Air {"Natalie Keener"}
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"Take It All" from Nine -- Music and Lyric by Maury Yeston
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"The Weary Kind (Theme From Crazy Heart)" from Crazy Heart -- Music and Lyric by Ryan Bingham and T Bone Burnett
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To PER CHRISTENSEN, MICHAEL BUNNELL and CHRISTOPHE HERY for the development of point-based rendering for indirect illumination and ambient occlusion. Much faster than previous ray-traced methods, this computer graphics technique has enabled color bleeding effects and realistic shadows for complex scenes in motion pictures. [Digital Imaging Technology]
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To DR. RICHARD KIRK for the overall design and development of the Truelight real-time 3D look-up table hardware device and color management software. Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world. [Laboratory]
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To VOLKER MASSMANN, MARKUS HASENZAHL, DR. KLAUS ANDERLE and ANDREAS LOEW for the development of the Spirit 4K/2K film scanning system as used in the digital intermediate process for motion pictures. The Spirit 4K/2K has distinguished itself by incorporating a continuous-motion transport mechanism enabling full-range, high-resolution scanning at much higher frame rates than non-continuous transport scanners. [Laboratory]
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To MICHAEL CIESLINSKI, DR. REIMAR LENZ and BERND BRAUNER for the development of the ARRISCAN film scanner, enabling high-resolution, high-dynamic range, pin-registered film scanning for use in the digital intermediate process. The ARRISCAN film scanner utilizes a specially designed CMOS array sensor mounted on a micro-positioning platform and a custom LED light source. Capture of the film's full dynamic range at various scan resolutions is implemented through sub-pixel offsets of the sensor along with multiple exposures of each frame. [Laboratory]
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To WOLFGANG LEMPP, THEO BROWN, TONY SEDIVY and DR. JOHN QUARTEL for the development of the Northlight film scanner, which enables high-resolution, pin-registered scanning in the motion picture digital intermediate process. Developed for the digital intermediate and motion picture visual effects markets, the Northlight scanner was designed with a 6K CCD sensor, making it unique in its ability to produce high-resolution scans of 35mm, 8-perf film frames. [Laboratory]
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To STEVE CHAPMAN, MARTIN TLASKAL, DARRIN SMART and DR. JAMES LOGIE for their contributions to the development of the Baselight color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process. Baselight was one of the first digital color correction systems to enter the digital intermediate market and has seen wide acceptance in the motion picture industry. [Laboratory]
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To MARK JASZBERENYI, GYULA PRISKIN and TAMAS PERLAKI for their contributions to the development of the Lustre color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process. Lustre is a software solution that enables non-linear, real-time digital color grading across an entire feature film, emulating the photochemical color-timing process. [Laboratory]
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To BRAD WALKER, D. SCOTT DEWALD, BILL WERNER and GREG PETTITT for their contributions furthering the design and refinement of the Texas Instruments DLP Projector technology, achieving a level of performance that enabled color-accurate digital intermediate previews of motion pictures. Working in conjunction with the film industry, Texas Instruments created a high-resolution, color-accurate, high-quality digital intermediate projection system that could closely emulate film-based projection in a theatrical environment. [Projection]
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To FUJIFILM CORPORATION, RYOJI NISHIMURA, MASAAKI MIKI and YOUICHI HOSOYA for the design and development of Fujicolor ETERNA-RDI digital intermediate film, which was designed exclusively to reproduce motion picture digital masters. The Fujicolor ETERNA-RDI Type 8511/4511 digital intermediate film has thinner emulsion layers with extremely efficient couplers made possible by Super-Nano Cubic Grain Technology. This invention allows improved color sensitivity with the ability to absorb scattered light, providing extremely sharp images. The ETERNA-RDI emulsion technology also achieves less color cross-talk for exacting reproduction. Its expanded latitude and linearity provides superior highlights and shadows in a film stock with exceptional latent image stability. [Film]
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To PAUL DEBEVEC, TIM HAWKINS, JOHN MONOS and DR. MARK SAGAR for the design and engineering of the Light Stage capture devices and the image-based facial rendering system developed for character relighting in motion pictures. The combination of these systems, with their ability to capture high fidelity reflectance data of human subjects, allows for the creation of photorealistic digital faces as they would appear in any lighting condition. [Digital Imaging Technology]
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To MARK WOLFORTH and TONY SEDIVY for their contributions to the development of the Truelight real-time 3D look-up table hardware system. Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world. [Laboratory]
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To DR. KLAUS ANDERLE, CHRISTIAN BAEKER and FRANK BILLASCH for their contributions to the LUTher 3D look-up table hardware device and color management software. The LUTher system was one of the first color look-up table processors to be widely adopted by the pioneering digital intermediate facilities in the industry. This innovation enabled accurate color presentation by facilities that had analyzed projected film output and built 3D look-up tables in order to emulate print film. [Laboratory]
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To STEVE SULLIVAN, KEVIN WOOLEY, BRETT ALLEN and COLIN DAVIDSON for the development of the Imocap on-set performance capture system. Developed at Industrial Light & Magic and consisting of custom hardware and software, Imocap is an innovative system that successfully addresses the need for on-set, low-impact performance capture. [Digital Imaging Technology]
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To HAYDEN LANDIS, KEN McGAUGH and HILMAR KOCH for advancing the technique of ambient occlusion rendering. Ambient occlusion has enabled a new level of realism in synthesized imagery and has become a standard tool for computer graphics lighting in motion pictures. [Digital Imaging Technology]
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To BJÖRN HEDÉN for the design and mechanical engineering of the silent, two-stage planetary friction drive Hedén Lens Motors. Solving a series of problems with one integrated mechanism, this device had an immediate and significant impact on the motion picture industry. [Photography]

2010 (83rd)
Javier Bardem -- Biutiful {"Uxbal"}
Jeff Bridges -- True Grit {"Rooster Cogburn"}
Jesse Eisenberg -- The Social Network {"Mark Zuckerberg"}
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Colin Firth -- The King's Speech {"King George VI"}
James Franco -- 127 Hours {"Aron Ralston"}
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Christian Bale -- The Fighter {"Dicky Eklund"}
John Hawkes -- Winter's Bone {"Teardrop"}
Jeremy Renner -- The Town {"James Coughlin"}
Geoffrey Rush -- The King's Speech {"Lionel Logue"}
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Natalie Portman -- Black Swan {"Nina Sayers/The Swan Queen"}
Amy Adams -- The Fighter {"Charlene Fleming"}
Helena Bonham Carter -- The King's Speech {"Queen Elizabeth"}
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Melissa Leo -- The Fighter {"Alice Ward"}
Hailee Steinfeld -- True Grit {"Mattie Ross"}
Jacki Weaver -- Animal Kingdom {"Janine 'Smurf' Cody"}
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"We Belong Together" from Toy Story 3 -- Music and Lyric by Randy Newman
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To DR. MARK SAGAR for his early and continuing development of influential facial motion retargeting solutions. Dr. Sagar's work led to a method for transforming facial motion capture data into an expression-based, editable character animation system that has been used in motion pictures with a high volume of digital characters. [Digital Imaging Technology]
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To MARK NOEL for the design, engineering, and development, and to JOHN FRAZIER for his contributions to the design and safety features, of the NAC Servo Winch System. The NAC System allows full-size cars, aircraft and other heavy props to be flown on wires with unprecedented freedom of motion and a high degree of safety, on-set and in real time. The intuitive control system responds to the motion of the operator's hand, permitting the recording and playback of all axes of motion simultaneously, which may be edited and refined for playback in subsequent takes. [Stage Operations]
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To JAMES RODNUNSKY, ALEX MacDONALD and MARK CHAPMAN for the development of the Cablecam 3-D volumetric suspended cable camera technologies. The evolution of the Cablecam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space. [Camera Cranes]
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To TIM DRNEC, BEN BRITTEN SMITH and MATT DAVIS for the development of the Spydercam 3-D volumetric suspended cable camera technologies. The evolution of the Spydercam technology has made it possible to move a camera safely and accurately anywhere through a three-dimensional space. [Camera Cranes]
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To GREG ERCOLANO for the design and engineering of a series of software systems culminating in the Rush render queue management system. Mr. Ercolano's work has been influential across the industry, and has enabled scalable render farms at numerous studios. [Digital Imaging Technology]
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To DAVID M. LAUR for the development of the Alfred render queue management system. This system was the first robust, scalable, widely adopted commercial solution for queue management in the motion picture industry. Its user interface and support for multi-machine assignment influenced the design of modern day queue management tools. [Digital Imaging Technology]
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To CHRIS ALLEN, GAUTHAM KRISHNAMURTI, MARK A. BROWN and LANCE KIMES for the development of Queue, a robust, scalable approach to render queue management. Queue was one of the first systems that allowed for statistical analysis and process introspection, providing a framework for the efficient use of render farms. [Digital Imaging Technology]
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To FLORIAN KAINZ for the design and development of the robust, highly scalable distributed architecture of the ObaQ render queue management system. ObaQ has scaled from managing a few hundred processors in 1997 to many thousands today, with minimal changes to the original design. [Digital Imaging Technology]
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To ERIC TABELLION and ARNAULD LAMORLETTE for the creation of a computer graphics bounce lighting methodology that is practical at feature film scale. This important step in the evolution of global illumination techniques, first used on the motion picture "Shrek 2," was shared with the industry in their technical paper "An Approximate Global Illumination System for Computer Generated Films." [Digital Imaging Technology]
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2011 (84th)
Demián Bichir -- A Better Life {"Carlos Galindo"}
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Jean Dujardin -- The Artist {"George Valentin"}
Brad Pitt -- Moneyball {"Billy Beane"}
Kenneth Branagh -- My Week with Marilyn {"Sir Laurence Olivier"}
Jonah Hill -- Moneyball {"Peter Brand"}
Nick Nolte -- Warrior {"Paddy Conlon"}
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Glenn Close -- Albert Nobbs {"Albert Nobbs"}
Viola Davis -- The Help {"Aibileen Clark"}
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Meryl Streep -- The Iron Lady {"Margaret Thatcher"}
Bérénice Bejo -- The Artist {"Peppy Miller"}
Jessica Chastain -- The Help {"Celia Foote"}
Janet McTeer -- Albert Nobbs {"Hubert Page"}
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Octavia Spencer -- The Help {"Minny Jackson"}
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. After the awards ceremony on February 26, 2012, the Academy was made aware that Tuba Atlantic had been shown on Norwegian television in 2010, making the film ineligible for the 84th Awards under the rules governing the category. In July 2012, the nomination was rescinded by the Board of Governors.]
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To FRANZ KRAUS, JOHANNES STEURER and WOLFGANG RIEDEL for the design and development of the ARRILASER Film Recorder. The ARRILASER film recorder demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device, while at the same time maintaining outstanding speed, exposure ratings and image quality. [Special Photographic]
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To RADU CORLAN, ANDY JANTZEN, PETRU POP and RICHARD F. TOFTNESS for the design and engineering of the Phantom family of high-speed cameras for motion picture production. The Phantom family of high-speed digital cameras, including the Phantom Flex and HD Gold, provide imagery at speeds and efficacy surpassing photochemical technology, while seamlessly intercutting with conventional film production. [Camera]
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To DR. JÜRGEN NOFFKE for the optical design and UWE WEBER for the mechanical design of the ARRI Zeiss Master Prime Lenses for motion picture photography. The Master Primes have achieved a full stop advance in speed over existing lenses, while maintaining state-of-the-art optical quality. This lens family was also the first to eliminate the magnification change that accompanied extreme focus shifts. [Lenses and Filters]
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To MICHAEL LEWIS, GREG MARSDEN, RAIGO ALAS and MICHAEL VELLEKOOP for the concept, design and implementation of the Pictorvision Eclipse, an electronically stabilized aerial camera platform. The Pictorvision Eclipse system allows cinematographers to capture aerial footage at faster flying speeds with aggressive platform maneuvering. [Camera Cranes]
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To E.F. "BOB" NETTMANN for the concept and system architecture, MICHAEL SAYOVITZ for the electronic packaging and integration, BRAD FRITZEL for the electronic engineering, and FRED MILLER for the mechanical engineering of the Stab-C Classic, Super-G and Stab-C Compact stabilizing heads. This versatile family of 5-axis camera and lens stabilizers allows any standard motion picture camera to be fitted into the open architecture of the structure. The system can be quickly balanced and made ready for shooting platforms such as helicopters, boats, camera cars or cranes. [Camera Cranes]
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To FUJIFILM CORPORATION, HIDEYUKI SHIRAI, DR. KATSUHISA OOZEKI and HIROSHI HIRANO for the design and development of the FUJIFILM black and white recording film ETERNA-RDS 4791 for use in the archival preservation of film and digital images. Specifically designed for laser film recording and widely used in the industry today, the high-resolution FUJIFILM ETERNA-RDS 4791 film stock is an important step in protecting the heritage of the motion picture industry. [Film]
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To ANDREW CLINTON and MARK ELENDT for the invention and integration of micro-voxels in the Mantra software. This work allowed, for the first time, unified and efficient rendering of volumetric effects such as smoke and clouds, together with other computer graphics objects, in a micro-polygon imaging pipeline. [Digital Imaging Technology]
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2012 (85th)
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Daniel Day-Lewis -- Lincoln {"Abraham Lincoln"}
Hugh Jackman -- Les Misérables {"Jean Valjean"}
Joaquin Phoenix -- The Master {"Freddie Quell"}
Denzel Washington -- Flight {"Whip Whitaker"}
Alan Arkin -- Argo {"Lester Siegel"}
Philip Seymour Hoffman -- The Master {"Lancaster Dodd"}
Tommy Lee Jones -- Lincoln {"Thaddeus Stevens"}
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Christoph Waltz -- Django Unchained {"Dr. King Schultz"}
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Emmanuelle Riva -- Amour {"Anne"}
Amy Adams -- The Master {"Peggy Dodd"}
Sally Field -- Lincoln {"Mary Todd Lincoln"}
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Helen Hunt -- The Sessions {"Cheryl"}
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No -- Chile
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"Before My Time" from Chasing Ice -- Music and Lyric by J. Ralph
"Everybody Needs A Best Friend" from Ted -- Music by Walter Murphy; Lyric by Seth MacFarlane
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[NOTE: A tie. The other winning film in this category was Zero Dark Thirty.]
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[NOTE: A tie. The other winning film in this category was Skyfall.]
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To COOKE OPTICS LIMITED for their continuing innovation in the design, development and manufacture of advanced camera lenses that have helped define the look of motion pictures over the last century. Since their first series of motion picture lenses, Cooke Optics has continued to create optical innovations decade after decade. Producing what is commonly referred to as the "Cooke Look," these lenses have often been the lens of choice for creative cinematographers worldwide. [Lenses and Filters]
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To SIMON CLUTTERBUCK, JAMES JACOBS and DR. RICHARD DORLING for the development of the Tissue Physically-Based Character Simulation Framework. This framework faithfully and robustly simulates the effects of anatomical structures underlying a character's skin. The resulting dynamic and secondary motions provide a new level of realism to computer-generated creatures. [Digital Imaging Technology]
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To DR. PHILIP McLAUCHLAN, ALLAN JAENICKE, JOHN-PAUL SMITH and ROSS SHAIN for the creation of the Mocha planar tracking and rotoscoping software at Imagineer Systems Ltd. Mocha provides robust planar-tracking even when there are no clearly defined points in the image. Its effectiveness, ease of use, and ability to exchange rotoscoping data with other image processing tools have resulted in widespread adoption of the software in the visual effects industry. [Digital Imaging Technology]
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To JOE MURTHA, WILLIAM FREDERICK and JIM MARKLAND of Anton/Bauer, Inc. for the design and creation of the CINE VCLX Portable Power System. The CINE VCLX provides extended run-times and flexibility, allowing users to power cameras and other supplementary equipment required for production. This high-capacity battery system is also matched to the high-demand, always-on digital cinema cameras. [Systems]
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To J.P. LEWIS, MATT CORDNER and NICKSON FONG for the invention and publication of the Pose Space Deformation technique. Pose Space Deformation (PSD) introduced the use of novel sparse data interpolation techniques to the task of shape interpolation. The controllability and ease of achieving artistic intent have led to PSD being a foundational technique in the creation of computer-generated characters. [Digital Imaging Technology]
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To LAWRENCE KESTELOOT, DREW OLBRICH and DANIEL WEXLER for the creation of the Light system for computer graphics lighting at PDI/DreamWorks. Virtually unchanged from its original incarnation over 15 years ago, Light is still in continuous use due to its emphasis on interactive responsiveness, final-quality interactive render preview, scalable architecture and powerful user-configurable spreadsheet interface. [Digital Imaging Technology]
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To STEVE LaVIETES, BRIAN HALL and JEREMY SELAN for the creation of the Katana computer graphics scene management and lighting software at Sony Pictures Imageworks. Katana's unique design, featuring a deferred evaluation procedural node-graph, provides a highly efficient lighting and rendering workflow. It allows artists to non-destructively edit scenes too complex to fit into computer memory, at scales ranging from a single object up to an entire detailed city. [Digital Imaging Technology]
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To THEODORE KIM, NILS THUEREY, DR. MARKUS GROSS and DOUG JAMES for the invention, publication and dissemination of Wavelet Turbulence software. This technique allowed for fast, art-directable creation of highly detailed gas simulation, making it easier for the artist to control the appearance of these effects in the final image. [Digital Imaging Technology]
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To RICHARD MALL for the design and development of the Matthews Max Menace Arm. Highly sophisticated and well-engineered, the Max Menace Arm is a safe and adjustable device that allows rapid, precise positioning of lighting fixtures, cameras or accessories. On-set or on location, this compact and highly portable structure is often used where access is limited due to restrictions on attaching equipment to existing surfaces. [Stage Operations]
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2013 (86th)
Christian Bale -- American Hustle {"Irving Rosenfeld"}
Bruce Dern -- Nebraska {"Woody Grant"}
Chiwetel Ejiofor -- 12 Years a Slave {"Solomon Northup"}
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Bradley Cooper -- American Hustle {"Richie DiMaso"}
Jonah Hill -- The Wolf of Wall Street {"Donnie Azoff"}
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Amy Adams -- American Hustle {"Sydney Prosser"}
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Sandra Bullock -- Gravity {"Ryan Stone"}
Judi Dench -- Philomena {"Philomena"}
Meryl Streep -- August: Osage County {"Violet Weston"}
Jennifer Lawrence -- American Hustle {"Rosalyn Rosenfeld"}
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Julia Roberts -- August: Osage County {"Barbara Weston"}
June Squibb -- Nebraska {"Kate Grant"}
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[NOTE: THIS IS NOT AN OFFICIAL NOMINATION. After the nominations were announced on January 16, 2014, it was determined that Mr. Broughton had taken actions in promoting the song that were inconsistent with the Academy's campaign regulations. The Board of Governors voted to rescind the nomination on January 29, and only four songs were included on the final ballot.]
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To all those who built and operated film laboratories, for over a century of service to the motion picture industry. Lab employees have contributed extraordinary efforts to achieve filmmakers' artistic expectations for special film processing and the production of billions of feet of release prints per year. This work has allowed an expanded motion picture audience and unequaled worldwide cinema experience. [Special Photographic]
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To OFER ALON for the design and implementation of the ZBrush software tool for multi-resolution sculpting of digital models. ZBrush pioneered multi-resolution digital sculpting, transforming how artists conceive and realize their final designs. ZBrush has enabled artists to create models far more quickly and with much greater detail than previous approaches. [Digital Imaging Technology]
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To ERIC VEACH for his foundational research on efficient Monte Carlo path tracing for image synthesis. Physically based rendering has transformed computer graphics lighting by more accurately simulating materials and lights, allowing digital artists to focus on cinematography rather than the intricacies of rendering. In his 1997 Ph.D. thesis and related publications, Veach formalized the principles of Monte Carlo path tracing and introduced essential optimization techniques, such as multiple importance sampling, which make physically based rendering computationally feasible. [Digital Imaging Technology]
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To ANDRE GAUTHIER, BENOIT SEVIGNY, YVES BOUDREAULT and ROBERT LANCIAULT for the design and implementation of the FiLMBOX software application. FiLMBOX, the foundation of MotionBuilder, enables the real-time processing and control of devices and animation. For over two decades, its innovative architecture has been a basis for the development and evolution of new techniques in filmmaking, such as virtual production. [Digital Imaging Technology]
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To EMMANUEL PRÉVINAIRE, JAN SPERLING, ETIENNE BRANDT and TONY POSTIAU for their development of the Flying-Cam SARAH 3.0 system. This battery-powered, radio-controlled, miniature helicopter camera system employs computer-assisted piloting and tele-operation in an airframe that utilizes GPS-assisted flight controls for aerial filming of unparalleled sophistication. Flying-Cam SARAH achieves shots impossible for full-size helicopters, cable systems or other traditional camera support devices. [Photography]
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To OLIVIER MAURY, IAN SACHS and DAN PIPONI for the creation of the ILM Plume system that simulates and renders fire, smoke and explosions for motion picture visual effects. The unique construction of this system combines fluid solving and final image rendering on the GPU (Graphics Processing Unit) hardware without needing an intermediate step involving the CPU. This innovation reduces turnaround time, resulting in significant efficiency gains for the ILM effects department. [Digital Imaging Technology]
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To RONALD D. HENDERSON for the development of the FLUX gas simulation system. The use of the Fast Fourier Transform for solving partial differential equations allows FLUX a greater level of algorithmic efficiency when multi-threading on modern hardware. This innovation enables the creation of very high-resolution fluid effects while maintaining fast turnaround times. [Digital Imaging Technology]
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To ANDREW CAMENISCH, DAVID CARDWELL and TIBOR MADJAR for the concept and design, and to CSABA KOHEGYI and IMRE MAJOR for the implementation of the Mudbox software. Mudbox provides artists powerful new design capabilities that significantly advance the state of the art in multi-resolution digital sculpting for film production. [Digital Imaging Technology]
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To MARTIN HILL, JON ALLITT and NICK McKENZIE for the creation of the spherical harmonics-based efficient lighting system at Weta Digital. The spherical harmonics lighting pipeline precomputes and reuses a smooth approximation of time-consuming visibility calculations. This enables artists to quickly see the results of changing lights, materials and set layouts in scenes with extremely complex geometry. [Digital Imaging Technology]
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To FLORIAN KAINZ, JEFFERY YOST, PHILIP HUBBARD and JIM HOURIHAN for the architecture and development of the Zeno application framework. For more than a decade, Zeno's flexible and robust design has allowed the creation of a broad range of Academy Award-winning visual effects toolsets at ILM. [Digital Imaging Technology]
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To PETER HUANG and CHRIS PERRY for their architectural contributions to, and to HANS RIJPKEMA and JOE MANCEWICZ for the core engineering of, the Voodoo application framework. For more than a decade, Voodoo's unique design concepts have enabled a broad range of character animation toolsets to be developed at Rhythm & Hues. [Digital Imaging Technology]
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To MATT PHARR, GREG HUMPHREYS and PAT HANRAHAN for their formalization and reference implementation of the concepts behind physically based rendering, as shared in their book "Physically Based Rendering." Physically based rendering has transformed computer graphics lighting by more accurately simulating materials and lights, allowing digital artists to focus on cinematography rather than the intricacies of rendering. First published in 2004, "Physically Based Rendering" is both a textbook and a complete source-code implementation that has provided a widely adopted practical roadmap for most physically based shading and lighting systems used in film production. [Digital Imaging Technology]
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To DR. PETER HILLMAN for the long-term development and continued advancement of innovative, robust and complete toolsets for deep compositing. Dr. Hillman's ongoing contributions to standardized techniques and a common deep image file format have enabled advanced compositing workflows across the digital filmmaking industry. [Digital Imaging Technology]
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To COLIN DONCASTER, JOHANNES SAAM, AREITO ECHEVARRIA, JANNE KONTKANEN and CHRIS COOPER for the development, prototyping and promotion of technologies and workflows for deep compositing. Their contributions include early advancements in key deep compositing features such as layer and holdout-order independence, spatial and intra-element color correction, post-render depth of field, and precise blending of complex layer edges. [Digital Imaging Technology]
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To THOMAS LOKOVIC and ERIC VEACH for their influential research and publication of the fundamental concepts of deep shadowing technology. Providing a functional and efficient model for the storage of deep opacity information, this technology was widely adopted as the foundation of early deep compositing pipelines. [Digital Imaging Technology]
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To GIFFORD HOOPER and PHILIP GEORGE of HoverCam for the continuing development of the Helicam miniature helicopter camera system. The current Helicam system is a high-speed, extremely maneuverable, turbine-engine, radio-controlled miniature helicopter that supports professional film and digital cinema cameras. Helicam provides a wide range of stabilized, remotely operated pan, tilt and roll capabilities, achieving shots impossible for full-size helicopters. [Photography]
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To JOHN FRAZIER, CHUCK GASPAR and CLAY PINNEY for the design and development of the Pneumatic Car Flipper. This self-contained high-pressure pneumatic device safely launches a stationary full-sized car on a predetermined trajectory. The precision of operation enhances the safety of performers, and the physical design allows a rapid setup and strike. [Stage Operations]
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To JOSHUA PINES, DAVID REISNER, LOU LEVINSON, CURTIS CLARK, ASC, and DAVID REGISTER for the development of the American Society of Cinematographers Color Decision List technology. The ASC CDL unifies color correction principles for use on- and off-set, providing for the faithful reproduction of color values across a variety of color correction devices. This technology provides basic image-processing mathematics that translate the lift, gamma and gain settings to a set of common color values to help preserve the cinematographer's intent throughout production. [Systems]
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To JEREMY SELAN for the development of the OpenColorIO color management framework. OpenColorIO, developed at Sony Pictures Imageworks, is an open source framework that enables consistent color visualization of motion picture imagery across multiple facilities and numerous software applications. [Digital Imaging Technology]
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